{"id":4197,"date":"2026-03-27T10:25:59","date_gmt":"2026-03-27T07:25:59","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4197"},"modified":"2026-03-27T16:44:34","modified_gmt":"2026-03-27T13:44:34","slug":"taklidin-trajedisi-mahmut-yesarinin-su-sinekleri","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/","title":{"rendered":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e)"},"content":{"rendered":"

Kim Arar Kim Sorar\/ Attila \u0130lhan<\/strong><\/p>\n

Meyhaneler da\u011f\u0131lm\u0131\u015ft\u0131r
\nSarho\u015flar ma\u011flup
\nAsfaltlar y\u0131ld\u0131r\u0131m h\u0131z\u0131yla so\u011fuyor
\nHava durgun, yaprak k\u0131m\u0131ldamaz
\nUzak l\u00e2ternalar\u0131n ayd\u0131nlatt\u0131\u011f\u0131 geceyi
\nKim arar kim sorar
\nEn tenha rak\u0131lar\u0131n
\nEn \u0131ss\u0131z kuytular\u0131ndan
\nS\u0131r\u0131ls\u0131klam tefrikalar \u00e7\u0131karan
\nMahmut Yes\u00e2ri Bey\u2019i
\nKim arar kim sorar<\/p>\n

\u2026<\/p>\n

        Mahmut Yesari<\/strong><\/p>\n

        Gece da\u011f\u0131lm\u0131\u015ft\u0131r. Meyhanelerin \u0131\u015f\u0131klar\u0131 s\u00f6nm\u00fc\u015f, sandalyeler masalar\u0131n \u00fczerine kapat\u0131lm\u0131\u015f, g\u00fcr\u00fclt\u00fc fecir haz\u0131rl\u0131\u011f\u0131nda \u00e7\u00f6z\u00fclm\u00fc\u015ft\u00fcr. Yaln\u0131zl\u0131k so\u011fuyan asfalt\u0131n \u00fczerine ince bir tabaka halinde yay\u0131l\u0131rken \u015fair, edeb\u00ee haf\u0131zan\u0131n kenar\u0131na itilmi\u015f \u015fu ismi sanki karanl\u0131ktan \u00e7ekip \u00e7\u0131kar\u0131r: Mahmut Yesari.<\/p>\n

        Haddizat\u0131nda \u015fair, bu tirad\u0131nda sadece bir yazar\u0131 hat\u0131rlatma gayretinde de\u011fildir. Onun yapt\u0131\u011f\u0131 sanat\u0131n nisyanla hat\u0131rlatma aras\u0131nda kurdu\u011fu nizama edeb\u00ee bir i\u015farettir. Zira nisyan her daim de\u011fersizlikten do\u011fmaz. Bazen zaman istik\u00e2met de\u011fi\u015ftirir, bazen pop\u00fcler olan el de\u011fi\u015ftirir. B\u00f6yle anlarda \u00f6ne \u00e7\u0131kan sanat\u00e7\u0131 da yekdi\u011feriyle yer de\u011fi\u015ftirir.<\/p>\n

        Oysa Mahmut Yesari, ya\u015fad\u0131\u011f\u0131 d\u00f6nemde geni\u015f okur kitlelerine ula\u015fm\u0131\u015f, on y\u0131llarca eserleriyle gazete ve dergi sayfalar\u0131nda ona sad\u0131k okuyucusuyla birlikte nefes alm\u0131\u015ft\u0131r. Kimi zaman bir karikat\u00fcr\u00fcyle tebess\u00fcm ettirmi\u015f, kimi zaman bir roman kahraman\u0131yla haf\u0131zalara yerle\u015fmi\u015f, kimi zaman da bir tenkidiyle edeb\u00ee muhasebeye d\u00e2hil edilmi\u015ftir.<\/p>\n

        Ne var ki bir d\u00f6nem y\u00fcksek sesle okunan metinler, zaman\u0131n seyri i\u00e7inde pespaye metinlerin dahi gerisine d\u00fc\u015febilir. Zaman tuhaf ve ac\u0131mas\u0131zd\u0131r. G\u00fcr\u00fclt\u00fcy\u00fc yank\u0131 san\u0131r. \u00d6yle ki bazen “as\u0131l\u201d\u0131 \u201cfas\u0131l\u201dla bile kar\u0131\u015ft\u0131r\u0131r. Ve bir an gelir ki patlayan \u0131\u015f\u0131klar alt\u0131nda b\u00f6\u011f\u00fcrmelerle birlikte gelen \u201ck\u00f6pek havlamas\u0131\u201dn\u0131 dahi d\u00f6nemine sanat (!) diye yazd\u0131r\u0131r.<\/p>\n

        Tam da bu sebeple g\u00fcr\u00fclt\u00fcn\u00fcn g\u00f6lgesinde kalan bu isme yak\u0131ndan bakmak icap eder. O zaman sorumuzu soral\u0131m: Kimdir Mahmut Yesari?<\/p>\n

        Sa\u011f taraf\u0131 fel\u00e7li bir \u015fekilde do\u011fmas\u0131na ra\u011fmen k\u00fc\u00e7\u00fck ya\u015fta hattatl\u0131\u011fa merak salan ve 18. y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck hattatlar\u0131 aras\u0131na ad\u0131n\u0131 yazd\u0131ran, azmin timsali Hattat Mehmet Esat Efendi\u2019nin torunudur Mahmut Yesari.<\/p>\n

        1895\u2019te \u0130stanbul\u2019da d\u00fcnyaya gelen Yesari, yaz\u0131n\u0131n bir sanat terbiyesi olarak ku\u015faktan ku\u015fa\u011fa aktar\u0131ld\u0131\u011f\u0131 bir hanede yeti\u015fmi\u015ftir. Babas\u0131, d\u00f6nemin kazaskeri ve hattat\u0131 Mustafa \u0130zzet Efendi\u2019dir. Osmanl\u0131 co\u011frafyas\u0131n\u0131n muhtelif k\u00f6\u015felerinde y\u00fckselen pek \u00e7ok mimar\u00ee eserin kitabesi, onun zarif hatt\u0131yla \u015fekillenmi\u015ftir. Ta\u015f\u0131n \u00fczerine nak\u015fedilen yaz\u0131, bu ailede yaln\u0131z bir sanat de\u011fil; iradenin ve estetik anlay\u0131\u015f\u0131n tezah\u00fcr\u00fcd\u00fcr.<\/p>\n

        B\u00f6ylesi bir silsilenin i\u00e7inde yeti\u015fen Yesari, bu havay\u0131 k\u00fc\u00e7\u00fck ya\u015fta teneff\u00fcs eder. Fakat o, kalemin istikametini mermere de\u011fil, hayata \u00e7evirir. Dededen ve babadan gelen kudret, onda hat sanat\u0131nda de\u011fil; mizah\u0131n ince k\u0131vr\u0131mlar\u0131nda, hik\u00e2yenin i\u00e7 sesinde ve tefrikan\u0131n g\u00fcndelik ritminde kendini g\u00f6sterir. Sanat ve edebiyat \u00e2lemine ilk ad\u0131m\u0131n\u0131 mizah dergilerinde ne\u015fretti\u011fi karikat\u00fcrlerle atmas\u0131 tesad\u00fcf de\u011fildir. Zira \u00e7izgi onda, ta\u015f\u0131n sessizli\u011finden s\u0131yr\u0131l\u0131p \u015fehrin nabz\u0131yla birle\u015fmi\u015ftir.<\/p>\n

        1945\u2019te \u0130stanbul Yakac\u0131k Sanatoryumu\u2019nda veremden hayat\u0131n\u0131 kaybedinceye kadar vel\u00fbt kalemiyle yazmay\u0131 s\u00fcrd\u00fcren Yesari, ard\u0131nda hacmi kadar t\u00fcr \u00e7e\u015fitlili\u011fiyle de dikkat \u00e7eken zengin bir k\u00fclliyat b\u0131rakm\u0131\u015ft\u0131r.<\/p>\n

        Cumhuriyet devrinin pop\u00fcler anlat\u0131 damar\u0131nda m\u00fchim bir yer tutan Yesari, bir\u00e7ok dergide \u00f6yk\u00fcler, tiyatrolar, f\u0131kralar, ele\u015ftiriler yazm\u0131\u015f; karikat\u00fcrler yapm\u0131\u015f ve uzun y\u0131llar ge\u00e7imini gazetecilikle sa\u011flam\u0131\u015ft\u0131r.<\/p>\n

        \u0130lk roman\u0131 \u201cNamus\u201dla kurmaca sahas\u0131na ad\u0131m atan yazar, Tipi Dindi, Pervin Abla, \u00c7oban Y\u0131ld\u0131z\u0131, Ba\u011fr\u0131 Yan\u0131k \u00d6mer gibi eserleriyle geni\u015f bir okur kitlesine ula\u015f\u0131r. Sadri Ertem\u2019in \u201c\u00c7\u0131kr\u0131klar Durunca\u201d eseriyle birlikte edebiyat\u0131m\u0131z\u0131n ilk i\u015f\u00e7i romanlar\u0131ndan biri kabul edilen \u201c\u00c7ulluk\u201d ise onun ismini \u201ctoplumcu yazarlar\u201d aras\u0131na da yazd\u0131r\u0131r.<\/p>\n

        Onlarca \u00f6yk\u00fc ve roman, elliden fazla tiyatro yazm\u0131\u015f olan yazar\u0131n pek \u00e7ok eseri de sinemaya uyarlanm\u0131\u015ft\u0131r. Yaz\u0131m\u0131z\u0131n konusunu te\u015fkil eden Su Sinekleri\u2019ndense 2000 y\u0131l\u0131nda televizyon dizisi yap\u0131lm\u0131\u015ft\u0131r. Vefat\u0131ndan yar\u0131m as\u0131rdan fazla bir zaman ge\u00e7mesine ra\u011fmen eserlerinin h\u00e2l\u00e2 an\u0131l\u0131r olmas\u0131 yazar\u0131n sadece d\u00f6nemini de\u011fil \u00fc\u00e7 be\u015f ku\u015fak sonray\u0131 bile ayd\u0131nlatt\u0131\u011f\u0131n\u0131 anlat\u0131r.<\/p>\n

        Tanzimat D\u00f6nemi\u2019nde \u201chalk i\u00e7in\u201d roman yazan Ahmet Mithat Efendi\u2019nin ayak izine basan Servetif\u00fcnun D\u00f6nemi yazar\u0131 H\u00fcseyin Rahmi G\u00fcrp\u0131nar gibi o da Cumhuriyet D\u00f6nemi\u2019nde \u201csanat amac\u0131 g\u00fctmeyen halk yazar\u0131\u201d olabilmi\u015ftir. Halk\u0131 derinden etkileyen duygu ve d\u00fc\u015f\u00fcncelerden beslenen yazar; sanat\u0131n\u0131 hayat\u0131n mihenk ta\u015f\u0131na d\u00f6n\u00fc\u015ft\u00fcrm\u00fc\u015f, kahramanlar\u0131n\u0131 bizzat halk\u0131n i\u00e7inden \u00e7ekip roman\u0131na alm\u0131\u015ft\u0131r.<\/p>\n

        D\u00fcnya g\u00f6r\u00fc\u015fleri birbirinden farkl\u0131 olsa da \u201cSanat ve hayat, sanat ve hakikat \u00fczerinde fikri olmayan, fikir tasas\u0131 \u00e7ekmeyen \u015fair; bence kuyru\u011fu k\u0131st\u0131r\u0131l\u0131nca a\u011flayan bir hayvanc\u0131ktan farks\u0131zd\u0131r.\u201d diyen Necip Faz\u0131l gibi sanat\u0131n\u0131n merkezine hakikati koymaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r.<\/p>\n

        Yesari i\u00e7in roman, yaln\u0131z bir hik\u00e2ye kurma alan\u0131 de\u011fil; ya\u015fanan\u0131 kavrama ve aktarma \u00e7abas\u0131d\u0131r. Bu sebeple o, selefi Ahmet Mithat Efendi gibi romantizmden yararlansa da sosyal meselelere realist hatta nat\u00fcralist bir anlay\u0131\u015fla \u0131\u015f\u0131k tutmaya daha \u00e7ok gayret etmi\u015ftir. \u201cHik\u00e2yesini\u201d daha iyi aktarabilmek ad\u0131na Emile Zola\u2019n\u0131n yapt\u0131\u011f\u0131 gibi hayat\u0131n i\u00e7ine girmi\u015ftir. Fabrikada \u00e7al\u0131\u015fm\u0131\u015f, i\u015f\u00e7ilerle yemek yemi\u015f, komisyoncular\u0131 g\u00f6zlemlemi\u015f, memurlarla muhabbet etmi\u015ftir. \u201cSu Sinekleri\u201d i\u00e7in s\u00f6yledi\u011fi s\u00f6zler bu y\u00f6ntemin a\u00e7\u0131k bir g\u00f6stergesidir: \u201cKad\u0131k\u00f6y\u2019de sinema hastas\u0131 k\u0131zlar, delikanl\u0131larla haftalarca dola\u015ft\u0131m, k\u00fcrek \u00e7ektim ve iki sene Frans\u0131zca sinema dergileri okudum.\u201d<\/p>\n

        Ne var ki b\u00fct\u00fcn bu g\u00f6zlemci dikkati kurmacaya ta\u015f\u0131rken karakterlerini \u00e7o\u011fu zaman fizyolojik ayr\u0131nt\u0131lar yahut g\u00fcndelik hayattaki aks\u00fclamelleri \u00fczerinden in\u015fa etmi\u015f, ruh \u00e7\u00f6z\u00fcmlemesinde ayn\u0131 derinli\u011fi her zaman sergileyememi\u015ftir. Kahramanlar\u0131n\u0131n psikolojisini do\u011frudan i\u00e7 \u00e7\u00f6z\u00fcmlemelerle de\u011fil, mek\u00e2n\u0131n atmosferi \u00fczerinden vermeye gayret etmi\u015ftir. Kahramanlar\u0131n\u0131n adland\u0131r\u0131lmas\u0131nda karakterlerin ruh d\u00fcnyas\u0131n\u0131 g\u00f6zeten bir incelik sergilese de kitaplar\u0131n\u0131n ad\u0131n\u0131 \u00e7o\u011funlukla metnin merkez\u00ee imgesi belirlemi\u015ftir. Konumuz olan \u201cSu Sinekleri\u201d bu tercihin en belirgin \u00f6rne\u011fidir.<\/p>\n

\"Erik<\/p>\n

        Taklit ve Kimlik: Bir Medeniyet Muhasebesi<\/strong><\/p>\n

 <\/p>\n

        \u201cSu Sinekleri\u201d; toplumun en hareketli ve en k\u0131r\u0131lgan kuvveti olan gen\u00e7li\u011fin, kimli\u011fini yeni yeni in\u015fa etmeye ba\u015flad\u0131\u011f\u0131 bir e\u015fikte pop\u00fcler k\u00fclt\u00fcr\u00fcn g\u00f6r\u00fcnmez elleri taraf\u0131ndan nas\u0131l \u015fekillendirildi\u011fini anlat\u0131r. Roman\u0131n d\u00fcnyas\u0131nda gen\u00e7lik, kendi sesini ararken d\u0131\u015far\u0131dan dayat\u0131lan par\u0131lt\u0131l\u0131 imgelerin i\u00e7inde istikametini \u015fa\u015f\u0131r\u0131r. Bu \u015fa\u015fk\u0131nl\u0131k ikliminde k\u00fclt\u00fcr\u00fcm\u00fcz\u00fcn k\u00f6kl\u00fc de\u011ferleri, g\u00f6steri\u015fe ve y\u00fczeyselli\u011fe meyyal yeni al\u0131\u015fkanl\u0131klar kar\u015f\u0131s\u0131nda giderek a\u015f\u0131n\u0131r. Gelene\u011fe g\u00f6sterilen h\u00fcrmet ve itibar, zamanla yerini Bat\u0131\u2019dan esen r\u00fczg\u00e2rlara b\u00fcy\u00fclenmi\u015f bir hayranl\u0131\u011fa b\u0131rak\u0131r.<\/p>\n

        Bu \u00e7\u00f6z\u00fclme tek tek bireylerle s\u0131n\u0131rl\u0131 kalmaz; gen\u00e7li\u011fin kimli\u011finde beliren her \u00e7atlak toplumsal d\u00fczeyde de kar\u015f\u0131l\u0131k bulur. K\u00fclt\u00fcr\u00fc ayakta tutan ba\u011flar gev\u015fedik\u00e7e ku\u015faklar aras\u0131ndaki mesafe derinle\u015fir, m\u00fc\u015fterek zemin darald\u0131k\u00e7a nesiller birbirine yabanc\u0131la\u015f\u0131r. Davran\u0131\u015flarda, ili\u015fkilerde ve zihniyette g\u00f6zlenen bu de\u011fi\u015fim; asl\u0131nda daha b\u00fcy\u00fck bir k\u0131r\u0131lman\u0131n i\u015faretidir. Durgun g\u00f6r\u00fcnen y\u00fczeyin alt\u0131nda kaynayan gerilimse gen\u00e7li\u011fi, \u201csu sinekleri\u201d misali \u00e7\u0131rp\u0131nd\u0131k\u00e7a \u00f6z\u00fcn\u00fc besleyen damarlar\u0131ndan koparan bir girdab\u0131n i\u00e7ine s\u00fcr\u00fckler.<\/p>\n

        Malumunuz, hi\u00e7bir \u015fey tesad\u00fcfi de\u011fildir. Bu girdapta savrulu\u015f da keza \u00f6yledir. Zira o durgun g\u00f6r\u00fcnen y\u00fczeyin alt\u0131ndaki kaynama, m\u00fcnferit zaaflar\u0131n de\u011fil ta Tanzimat\u2019tan beri s\u00fcregelen k\u00fclt\u00fcrel istikamet de\u011fi\u015fikli\u011finin neticesidir. Gen\u00e7li\u011fin damarlar\u0131ndan o \u201ckadim kan\u201d bir anda de\u011fil, y\u0131llar i\u00e7inde ad\u0131m ad\u0131m ama istikrar\u0131n\u0131 bozmadan ve s\u00fcrekli fazlas\u0131n\u0131 isteyerek \u00e7ekilmi\u015ftir. Her devrin \u201cyeni\u201d diye takdim edilen fikir cereyanlar\u0131, medeniyet iddias\u0131 ta\u015f\u0131yan fakat k\u00f6klerimize uzak ideolojiler; kimli\u011fimizi zaman i\u00e7inde usul usul bo\u015faltm\u0131\u015ft\u0131r.<\/p>\n

        \u015eimdi de \u201cs\u0131rat\u0131mustakim\u201dden kopu\u015fun izini s\u00fcrelim. O ilk \u00e7atlak ne zaman olu\u015ftu? O kadim damar hangi noktada incelmeye ba\u015flad\u0131? Kimli\u011fimiz nas\u0131l yava\u015f yava\u015f elimizden kayd\u0131, buna biraz daha yak\u0131ndan bakal\u0131m.<\/p>\n

        Her \u015fey \u00f6nce gazete ve dergilerle ba\u015flad\u0131. Evlerimize giren o ince s\u00fctunlar, yaln\u0131z duvarlar\u0131m\u0131z\u0131 de\u011fil zihnimizi de yeniden \u015fekillendirdi. Bilhassa Fransa\u2019dan dev\u015firilmi\u015f her \u201cizm\u201d, hakikatin yaln\u0131z bir taraf\u0131na tutunmu\u015f her fikir cereyan\u0131, bize yeni bir d\u00fcnya vaadiyle geldi. Biz de o vaadin cazibesine kap\u0131ld\u0131k. Nihayetinde \u00fcstat Sezai Karako\u00e7\u2019un deyimiyle \u201c\u0130slam medeniyetinin kendi otantikli\u011finden\u201d uzakla\u015fmaya ba\u015flad\u0131k.<\/p>\n

        Ne diyordu Bu \u00dclke\u2019de Cemil Meri\u00e7: \u201c\u0130zmler idrakimize giydirilmi\u015f deli g\u00f6mlekleridir.\u201d Nitekim biz her \u201cizm\u201dle aslolan \u201chakikati\u201d b\u0131rakt\u0131k da \u201cger\u00e7e\u011fin\u201d hatta \u201crealitenin\u201d pe\u015fine d\u00fc\u015ft\u00fck. Bin d\u00f6rt y\u00fcz y\u0131ld\u0131r varl\u0131\u011f\u0131n t\u00fcm \u015fifreleri elimizdeyken, \u00fcstelik \u201cg\u00fcne\u015f dolu tarih\u201d cebimizdeyken bizler her \u201cBuldum!\u201d diyenin ard\u0131na tak\u0131ld\u0131k. Aslolan\u0131 arayan \u201cHayy\u201d gibi ta\u015fta, hayvanda hadi diyelim ayda, y\u0131ld\u0131zda bir meziyet bulup \u0131\u015f\u0131\u011f\u0131na kap\u0131ld\u0131k. B\u00f6yle b\u00f6yle ona, buna, \u015funa sar\u0131l\u0131p giderken akl\u0131m\u0131za \u00f6rt\u00fc, g\u00f6z\u00fcm\u00fcze perde indi de kemiyet i\u00e7inde kaybolduk. \u201cMuhabbetten Muhammed oldu h\u00e2s\u0131l, \/ Muhammetsiz muhabbetten ne h\u00e2s\u0131l?\u201c diyenleri de bu zaman i\u00e7inde unuttuk.<\/p>\n

        Tabii fikir yaln\u0131z gazete, kitap sayfalar\u0131nda da kalmad\u0131. Zamanla sahneye, perdeye ve nihayet evlerimizin i\u00e7ine kadar indi. Y\u0131llar i\u00e7inde \u00f6nce ekalliyetten zatlarla birlikte \u201ctiyatro\u201d girdi hayat\u0131m\u0131za. Sonra \u201csinema filmleri\u201d daha sonra \u201ctelevizyonla\u201d birlikte sanat ad\u0131 alt\u0131nda yap\u0131lan bir \u201cdizi\u201d rezalet \u00e7\u0131kt\u0131 kar\u015f\u0131m\u0131za. Yaz\u0131lmas\u0131 bile hicap uyand\u0131ran \u00e7arp\u0131k ili\u015fkilerin i\u015flendi\u011fi senaryolarda hedef M\u00fcsl\u00fcman, Anadolulu ailesiydi. Akabinde ske\u00e7ler, sabah ku\u015fa\u011f\u0131, magazin, \u201ckad\u0131n\u201d programlar\u0131 hatta reklamlar \u00fcstlendi rol\u00fc. Nihayet sosyal medya, b\u00fct\u00fcn bu mecralar\u0131n tortusunu tek bir ak\u0131\u015fta toplayan girdaba d\u00f6n\u00fc\u015ft\u00fc. H\u0131z\u0131yla fikri derinli\u011finden kopard\u0131, tekrar\u0131n g\u00fcr\u00fclt\u00fcs\u00fcyle hakikatin sesini bast\u0131rd\u0131. Ve fikir(sizlik); avu\u00e7lar\u0131m\u0131z\u0131n i\u00e7inde, parmak u\u00e7lar\u0131m\u0131z\u0131n s\u00fcr\u00fckledi\u011fi bir ak\u0131\u015fa kar\u0131\u015ft\u0131.<\/p>\n

        \u201cUtan\u0131rd\u0131 burnunu g\u00f6stermekten s\u00fctninem \/ K\u0131z\u0131m\u0131n g\u00f6sterdi\u011fi, kefen bezine mahrem.\u201d diyordu \u00dcstat Necip Faz\u0131l. Onun i\u015faret etti\u011fi o mahremiyet d\u00fcnyas\u0131ndan zifaf gecesini dahi kayda alan bir te\u015fhir \u00e7a\u011f\u0131n\u0131n e\u015fi\u011fine gelinceye kadar yaln\u0131z zaman de\u011fil, \u00f6l\u00e7\u00fc de de\u011fi\u015fti. \u00c7\u00fcnk\u00fc bu medya art\u0131k yaln\u0131zca bir ara\u00e7 de\u011fil; fazlas\u0131yla \u201csosyal\u201d, g\u00f6z \u00f6n\u00fcnde ve durmaks\u0131z\u0131n talepk\u00e2r bir zemine d\u00f6n\u00fc\u015fm\u00fc\u015f durumda.<\/p>\n

        Her \u015feye g\u00fclen ya da her \u015feyden g\u00fcld\u00fcr\u00fc ve haz malzemesi t\u0131rt\u0131klamaya \u00e7al\u0131\u015fan, yine hemen her \u015feyden \u00e7ok \u00e7abuk s\u0131k\u0131lan, be\u015f in\u00e7ten y\u00fcz in\u00e7e kadar her t\u00fcr ekrana ba\u011fl\u0131 bu nesil; kendisine g\u00f6sterilen ne varsa i\u00e7selle\u015ftirmekte ve \u00fc\u00e7 d\u00f6rt ya\u015flar\u0131ndan itibaren ba\u015flamaktad\u0131r \u201cKanal\u0131ma ho\u015f geldiniz!\u201d demeye.<\/p>\n

        Daha \u00f6nce b\u00fcy\u00fck ekranlarda tek y\u00f6nl\u00fc olan bu ileti\u015fim, ekran k\u00fc\u00e7\u00fcld\u00fck\u00e7e \u00e7ift tarafl\u0131 bir h\u00e2l alm\u0131\u015f, mesafe k\u0131sald\u0131k\u00e7a da tesir artm\u0131\u015ft\u0131r. \u201cSat\u0131lan\u201d ne varsa tayy-\u0131 zaman tayy-\u0131 mek\u00e2n yaparak do\u011frudan cana, kana, zihne dolmu\u015f ve nihayet \u201cd\u00f6n\u00fclmez ak\u015fam\u0131n ufku\u201d vuku bulu\u015ftur. Art\u0131k arac\u0131 kalkm\u0131\u015ft\u0131r. Yediden yetmi\u015fe herkes bu ekranlarda bir \u015feyler al\u0131p pazarlamakta, hi\u00e7bir \u015fey bulamazsa \u201ci\u00e7erik\u201d \u00fcretmekte, o da olmazsa ruhunu hara\u00e7 mezat satmaktad\u0131r da Faust\u2019a bile parmak \u0131s\u0131rtmaktad\u0131r.<\/p>\n

        Her \u015feyin de\u011ferinin parayla \u00f6l\u00e7\u00fcld\u00fc\u011f\u00fc, muazzam tekellerin olu\u015ftu\u011fu, haris bir \u015fekilde s\u0131n\u0131rs\u0131z bir \u201csahip olma\u201d sava\u015f\u0131n\u0131n ya\u015fand\u0131\u011f\u0131 bir d\u00f6nemdeyiz. Ar, namus, haysiyet, aile, ahlak, din kavramlar\u0131n\u0131n hayati unsur olarak g\u00f6r\u00fclmedi\u011fi, ahde vefan\u0131n, derde derman\u0131n yerine cevr \u00fc cefan\u0131n h\u00fck\u00fcm s\u00fcrd\u00fc\u011f\u00fc devran i\u00e7indeyiz.<\/p>\n

        Yaln\u0131z biz buraya birka\u00e7 g\u00fcnde, \u00fc\u00e7 be\u015f y\u0131lda gelmedik. Azar azar verildi zehir. Her \u201caz\u201d bizden \u00e7ok \u015fey g\u00f6t\u00fcrd\u00fc. Damlalar g\u00f6l oldu da g\u00f6ller derya. Ve biz \u201cOl mahiler ki derya i\u00e7redir deryay\u0131 bilmezler.\u201d misali, i\u00e7inde bulundu\u011fumuz h\u00e2lin fark\u0131na varamaz olduk.<\/p>\n

        \u0130\u015fte \u201cSu Sinekleri\u201d roman\u0131 da bu idrak tutulmas\u0131n\u0131n erken bir i\u015faretidir. Hen\u00fcz kaynaman\u0131n su \u00fcst\u00fcne \u00e7\u0131kmad\u0131\u011f\u0131 fakat damarlar\u0131 \u0131s\u0131tmaya ba\u015flad\u0131\u011f\u0131 bir devrin n\u00fcvesi… Bu y\u00fczden roman\u0131 kuru bir \u00f6zetle t\u00fcketmek yerine, kahramanlar\u0131n\u0131n izini s\u00fcrerek o kaynaman\u0131n nas\u0131l ba\u015flad\u0131\u011f\u0131n\u0131 birlikte g\u00f6rmek daha yerinde olacakt\u0131r. \u00d6yleyse ilk s\u00f6z\u00fc romana b\u0131rakal\u0131m. Bu s\u00f6z\u00fcn a\u00e7t\u0131\u011f\u0131 yoldan bize d\u00fc\u015fen hisseyi arayal\u0131m. Buyurunuz:<\/p>\n

\"Mahmut<\/p>\n

        Su Sinekleri<\/strong><\/p>\n

 <\/p>\n

        \u201cBir bahar sabah\u0131nda do\u011fan su sinekleri, o bahar ak\u015fam\u0131nda \u00f6ld\u00fcler. Ve ancak bir bahar g\u00fcne\u015fi g\u00f6rd\u00fcler\u2026\u201d<\/p>\n

        Yukar\u0131daki c\u00fcmlelerle bitip 1932 y\u0131l\u0131nda yay\u0131mlanan bu roman, su birikintileri \u00fczerinde varolu\u015funu bir g\u00fcnde tamamlayan su sinekleri gibi Bostanc\u0131 sahilinde bir bahar ay\u0131nda ayd\u0131nlanmalar\u0131n\u0131 tamamlayan -en b\u00fcy\u00fc\u011f\u00fc on sekiz ya\u015f\u0131nda- bir grup k\u0131z\u0131n sinema tutkusu yolunda s\u00fcr\u00fckleni\u015fini anlat\u0131r.<\/p>\n

        Sinek deyip ge\u00e7ti\u011fimiz Yaradan harikas\u0131 su sinekleri; d\u00f6rt bin g\u00f6z\u00fcyle arkalar\u0131ndaki nesneleri bile g\u00f6rebiliyorken Nuran, Sabbek, Fatma, Ayfer ve D\u00fcrdane magazin dergilerinin parlatt\u0131\u011f\u0131 yolun sonundaki \u00e7ukuru fark edemezler. Bu \u00e7ukur haritaya bak\u0131ld\u0131\u011f\u0131nda \u0130stiklal, Tophane ve Cihangir\u2019in kesi\u015fiminde yer alan roman\u0131m\u0131z\u0131n mek\u00e2n\u0131 \u00c7ukurcuma de\u011fildir. Ger\u00e7i bug\u00fcnk\u00fc \u00c7ukurcuma da Fatih\u2019in fetih sonras\u0131 cuma namaz\u0131 k\u0131ld\u0131rd\u0131\u011f\u0131 o tarih\u00ee \u00e7ukurdan bamba\u015fka bir yerdir. Bizim s\u00f6z\u00fcn\u00fc etti\u011fimiz \u00e7ukur bu k\u0131zlar\u0131n dillerinde \u201cgramofon\u201d, \u201cplak\u201d, \u201ckartpostal\u201d, \u201csinema\u201d, \u201cakt\u00f6r\u201d kelimeleriyle sinekler gibi \u00fczerinde u\u00e7u\u015ftu\u011fu ve kendilerini ate\u015fe att\u0131klar\u0131 yerdir. Bostanc\u0131 sahilindeki zahirde cennet bu \u00e7ukurda k\u0131zlar\u0131n hayalleri, \u201cmavinin\u201d bin bir tonu aras\u0131nda gider gelir. Ve bu gidi\u015f geli\u015f, hakikatin g\u00f6zlerine g\u00f6zlerine girmesine kadar devam eder.<\/p>\n

        Malumunuz, \u00f6z de\u011ferini yitirmi\u015f, \u00f6z yeterlilik inanc\u0131 zay\u0131flam\u0131\u015f insan; ya kendini toplumdan saklama ihtiyac\u0131 duyar ya da i\u00e7indeki bo\u015flu\u011fu daha derinlere gizleyebilmek i\u00e7in oldu\u011fundan daha \u00fcst\u00fcn g\u00f6r\u00fcnmeye \u00e7al\u0131\u015f\u0131r. G\u00f6r\u00fcn\u00fcrl\u00fck, eksikli\u011fin \u00f6rt\u00fcs\u00fc h\u00e2line gelir; par\u0131lt\u0131, k\u0131r\u0131lganl\u0131\u011f\u0131n z\u0131rh\u0131 olur.<\/p>\n

        Gen\u00e7likse bu k\u0131r\u0131lgan e\u015fikte, bilhassa g\u00f6r\u00fcn\u00fcm bask\u0131s\u0131 \u00fczerinden manip\u00fclasyona en a\u00e7\u0131k zemini te\u015fkil eder. Olu\u015fturulan moda alg\u0131s\u0131yla t\u00fcketime sevk edilen bu neslin \u201cBak, nas\u0131l g\u00f6r\u00fcn\u00fcyorum; nerelere gidiyorum; ne yiyorum?\u201d mesajlar\u0131nda ve beden merkezli c\u00fcmlelerinde o \u00fcst\u00fcnl\u00fck yar\u0131\u015f\u0131n\u0131n izlerini daha bariz g\u00f6r\u00fcr\u00fcz. L\u00e2kin bu yar\u0131\u015f yaln\u0131z bug\u00fcn\u00fcn meselesi de\u011fildir. As\u0131rlar \u00f6tesinden kula\u011f\u0131m\u0131za \u00e7al\u0131nan o eski sesin, her devirde ba\u015fka bir surette zuhur edi\u015fidir.<\/p>\n

        \u0130\u015fte bu sesin 1930\u2019lardaki yank\u0131s\u0131n\u0131 konu edinen Su Sinekleri\u2019nde bu y\u00fczden Nuran, Nora; Sabbek, Sabi\u015f; Fatma, Fati; D\u00fcrdane, Dora olur. \u0130simlerini d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken yaln\u0131z hecelerini de\u011fil, aidiyetlerini de t\u00f6rp\u00fclerler. Kendi isimlerinden bile hicap duyan bu gen\u00e7lik, \u00f6z varl\u0131\u011f\u0131ndan bu derece kopmu\u015fken d\u00f6nemin t\u00fcm yabanc\u0131 aktris ve akt\u00f6rlerini -hatta fig\u00fcrasyon oyuncular\u0131n\u0131 dahi- yeni bir dinin m\u00fcminleri gibi takip ederler.<\/p>\n

        Evlenmeleriyle, bo\u015fanmalar\u0131yla; e\u015fleriyle, \u00e7ocuklar\u0131yla; neleri sevip nelerden nefret ettikleriyle; nas\u0131l g\u00fcld\u00fckleri, nerede yemek yedikleri, y\u00fczlerinin tam neresinde bir ben ta\u015f\u0131d\u0131klar\u0131yla\u2026 Hepsi ayr\u0131 bir merak\u0131n, ayr\u0131 bir hayranl\u0131\u011f\u0131n mevzuudur. Norma Talmadge ba\u015fka bir y\u0131ld\u0131zd\u0131r (!), Norma Shearer ba\u015fka. Dolores del Rio ba\u015fka bir ufuktur (!), Dolores Brinkman veya Dolores Castello ba\u015fka. Dorothy Gish, Dorothy Dalton, Dorothy Sebastian, Dorothy Gulliver, Betty Bronson, Betty Compson, Betty Lewel\u2026 gibileriyse bamba\u015fka! Gen\u00e7lerimiz uzay\u0131p giden bu isimlerle g\u00fcnlerini doldururlar. Hatta bu resmige\u00e7itle de yetinmeyip d\u00fc\u015f\u00fcne d\u00fc\u015f\u00fcne, araya araya dima\u011flar\u0131ndaki hayalleri hakikatte mevcut g\u00f6r\u00fcr, daha do\u011frusu benzetir, benzetti\u011fi ki\u015fileri asl\u0131n\u0131n yerine koyar ve onlara da muhayyilesinde b\u00fcy\u00fctt\u00fc\u011f\u00fc sevginin ayn\u0131s\u0131n\u0131 beslerler.<\/p>\n

        Bir g\u00fcn Valentino\u2019yu ka\u015f\u0131, g\u00f6z\u00fc, boyu posuyla vapurda bulur. Ba\u015fka bir g\u00fcn sinema kap\u0131s\u0131nda bir gencin y\u00fcr\u00fcy\u00fc\u015f\u00fcnde Villi Fri\u00e7\u2019i yakalad\u0131klar\u0131n\u0131 san\u0131rlar\u2026 Dedik ya bu ince ruhlu, hassas yarad\u0131l\u0131\u015fl\u0131 k\u0131zlar; g\u00f6rd\u00fckleri her sureti hayallerindeki y\u0131ld\u0131zlara benzetmeye haz\u0131rd\u0131r. Ve benzettikleri o hayali sureti, g\u00fcndelik hayatlar\u0131nda da ya\u015fatmaya \u00e7al\u0131\u015f\u0131rlar.<\/p>\n

        Bir sinema aktrisinin \u201cetiquette\u201diyle, \u201cbonjour\u201d diyerek selamla\u015f\u0131r; \u201cbleu de Prusse\u201d krepd\u00f6\u015finden \u201c\u015fevyot\u201d ete\u011fine, \u201cocre\u201d \u00e7orab\u0131na var\u0131ncaya kadar her ayr\u0131nt\u0131y\u0131 g\u00f6sterme tela\u015f\u0131na kap\u0131l\u0131rlar. Kelimeler dillerinde yabanc\u0131, fakat hevesleri yerli ve yak\u0131c\u0131d\u0131r. G\u00f6r\u00fcnmek, benzemek ve be\u011fenilmek arzusu, \u00fczerlerine giydikleri kuma\u015ftan daha s\u0131k\u0131 sarar bedenlerini.<\/p>\n

        Yesari, bu tipleri kuru bir tasvirle de\u011fil; keskin bir g\u00f6zlem ve ince bir ironiyle tan\u0131t\u0131r. Onun kaleminde \u201csonradan g\u00f6rmeler\u201d yaln\u0131z bir sosyal z\u00fcmre de\u011fil, ruh\u00ee bir ar\u0131zan\u0131n temsilidir:<\/p>\n

        \u201cSonradan g\u00f6rmelerde bir \u015fey almak, yapmak, para harcamak, ruhi oldu\u011fu kadar uzvi bir hastal\u0131k halindedir. G\u00f6zleriyle, dilleriyle, etleriyle, burunlar\u0131yla, kulaklar\u0131yla; g\u00f6rmek, tatmak, dokunmak, koklamak, duymak isterler. Alam\u0131yordum, alay\u0131m; yapam\u0131yordum, yapay\u0131m; harcayam\u0131yordum, harcayay\u0131m; ald\u0131\u011f\u0131m\u0131, alabilece\u011fimi; yapt\u0131\u011f\u0131m\u0131, yapabilece\u011fimi; harcad\u0131\u011f\u0131m\u0131, harcayabilece\u011fimi g\u00f6stereyim, duray\u0131m endi\u015fesi, b\u00fct\u00fcn huzurlar\u0131n\u0131 ka\u00e7\u0131ran bir kuruntu, bir korkudur. Kendi zevkleri, istekleri yoktur. \u00d6nde gelen hisleri, daima etraflar\u0131n\u0131 kontrolle me\u015fguld\u00fcr. Filan bunu alm\u0131\u015f, bunu yapm\u0131\u015f, bu kadar harcam\u0131\u015f; falan \u015funu alacakm\u0131\u015f, bunu yapacakm\u0131\u015f, \u015fu kadar harcayacakm\u0131\u015f d\u00fc\u015f\u00fcncesi arzular\u0131n\u0131 d\u00fczeltir, zevklerine h\u00e2kimdir.\u201d<\/p>\n

        Bu sat\u0131rlarda g\u00f6r\u00fclen \u015fey yaln\u0131z t\u00fcketim h\u0131rs\u0131 de\u011fil; derin bir var olma sanc\u0131s\u0131d\u0131r. Sahip olmakla yetinmeyen, sahip oldu\u011funu g\u00f6stermekle teskin olmaya \u00e7al\u0131\u015fan bir ruh h\u00e2li\u2026 \u0130\u015fte \u201cSu Sinekleri\u201dnin gen\u00e7 k\u0131zlar\u0131nda da bu sanc\u0131, hen\u00fcz par\u0131lt\u0131 sand\u0131klar\u0131 bir bo\u015flu\u011fun i\u00e7inden y\u00fckselir.<\/p>\n

        Bunlar\u0131n yan\u0131 s\u0131ra yazar bize \u00fc\u00e7 ayda bir maa\u015f alan, g\u00fcn\u00fcn erzak\u0131n\u0131 bakkaldan veresiye, f\u0131r\u0131ndan duras\u0131ya isteyen anne- k\u0131z- torun silsilesinden bahis a\u00e7ar: Tek keyfi, kahvesini, sigaras\u0131n\u0131 al\u0131p k\u00f6\u015fe penceresinin \u00f6n\u00fcne oturarak soka\u011f\u0131 seyretmek olan peygamber y\u00fcrekli Nebiye Han\u0131m\u2026 Bir elinde otuz \u00fc\u00e7l\u00fc necef tespihi, di\u011fer elinde lokmanruhu, a\u011fz\u0131nda Ziya Pa\u015fa\u2019dan m\u00fclhem \u201cS\u00fcbhane men tahayyere\u2026\u201d m\u0131r\u0131ldanarak evin i\u00e7inde ruh gibi dola\u015fan Ruhsar Han\u0131m\u2026 Ve hakiki d\u00fcnyas\u0131n\u0131n fark\u0131na varamay\u0131p kendine kurdu\u011fu d\u00fcnyada hakikate \u00e7arpana kadar u\u00e7an tatl\u0131 su sine\u011fi ba\u015fkahraman Sabbek\u2026<\/p>\n

        Mahmut Yesari eserin ilerleyen sayfalar\u0131nda kar\u015f\u0131m\u0131za yukar\u0131da sayd\u0131\u011f\u0131m\u0131z \u201csu sinekleri\u201dnin konaca\u011f\u0131 \u201cpisli\u011fi\u201d de \u00e7\u0131kar\u0131r. Bu \u201cS\u00fcl\u00fck b\u0131y\u0131kl\u0131, uzun favorili, alt\u0131n zincirli, Allah\u2019\u0131n yaratt\u0131\u011f\u0131 \u015fekli be\u011fenmeyip kendilerini sinema kap\u0131lar\u0131n\u0131 s\u00fcsleyen akt\u00f6rlere benzetmeye \u00e7al\u0131\u015fan, dolay\u0131s\u0131yla en nihayetinde birbirine benzeyen, bir g\u00fcn Ra\u015fel Han\u0131m\u2019la di\u011fer g\u00fcn Anjel\u2019le dola\u015fan, kokainman ve janti\u201d gen\u00e7ler bize fosforlu ye\u015fil sinekleri kendilerine \u00e7eken necis y\u0131\u011f\u0131nlar\u0131 hat\u0131rlat\u0131r.<\/p>\n

        Farkl\u0131 mahalde ya\u015fasa da ayn\u0131 istikamette savrulan Nezahat Han\u0131m da bu z\u00fcmrenin ba\u015fka bir y\u00fcz\u00fcd\u00fcr. E\u015fini ve \u00e7ocu\u011funu evde b\u0131rak\u0131p s\u0131k s\u0131k \u201cs\u00fct hala\u201d, \u201cs\u00fct teyze\u201d gibi bilumum akrabas\u0131na diye birka\u00e7 gecelik yat\u0131lara giden, v\u00fccudunda tuhaf morluklar ve i\u00e7kiye benzer kokular e\u015fli\u011finde evine d\u00f6nen bu kad\u0131n da romanda ayr\u0131 bir siyah tiptir.<\/p>\n

        Yesari romana beyaz tipler koysa da bunlar\u0131 belki de konudan kopmamak ad\u0131na i\u015flememi\u015f, konu\u015fturmam\u0131\u015f, haletiruhiyeleriyle vermemi\u015ftir. Bunlar roman\u0131n i\u00e7ine siyah\u0131 belirginle\u015ftirmek i\u00e7in konulmu\u015f gibidir. \u0130nsan\u0131 tek y\u00f6n\u00fcyle yakalamaya \u00e7al\u0131\u015fan Yesari, toplumun problemlerini verebilmek i\u00e7in bu ki\u015filerde detaya girmemi\u015f ve bu kahramanlar da romanda tip olarak kalm\u0131\u015ft\u0131r. Roman\u0131n ilerleyen b\u00f6l\u00fcmlerinde bu y\u00fczden bunlardan da bahsedilmez. Olay zincirinin son halkas\u0131nda ana kahramanlar hakikatten ka\u00e7\u0131\u015fta Goethe\u2019nin Werther\u2019inin efsanevi y\u00f6ntemine benzer bir yola ba\u015fvururlar.  Kahramanlar\u0131m\u0131z\u0131n olgunla\u015fma ser\u00fcveni de bu olay\u0131n akabinde vuku bulur.<\/p>\n

        Werther\u2019in g\u00f6lgesi, romanda bir taklit de\u011fil; bir \u00e7arp\u0131\u015fmad\u0131r. Hakikatten ka\u00e7\u0131\u015f sand\u0131klar\u0131 o son ad\u0131m, asl\u0131nda y\u00fczle\u015fmenin ba\u015flang\u0131c\u0131 olur. Yesari\u2019nin gen\u00e7 k\u0131zlar\u0131, par\u0131lt\u0131n\u0131n pe\u015finden giderken ilk defa karanl\u0131\u011f\u0131 tan\u0131r. Hayranl\u0131kla kurduklar\u0131 d\u00fcnyan\u0131n ne kadar ince bir y\u00fczeyden ibaret oldu\u011funu sars\u0131larak fark ederler.<\/p>\n

        Mahmut Yesari\u2019nin \u201cSu Sinekleri\u201d roman\u0131, tabii yaln\u0131z sinema hevesine kap\u0131lm\u0131\u015f birka\u00e7 gen\u00e7 k\u0131z\u0131n hik\u00e2yesi de\u011fildir. Roman, modernli\u011fi \u015fekil ve isim de\u011fi\u015fikli\u011fi zanneden bir zihniyetin, hakikate temas etti\u011fi anda ya\u015fad\u0131\u011f\u0131 k\u0131r\u0131lmay\u0131 anlat\u0131r. \u0130simlerini Nora\u2019ya, Dora\u2019ya d\u00f6n\u00fc\u015ft\u00fcrenler; sonunda kendi adlar\u0131n\u0131n a\u011f\u0131rl\u0131\u011f\u0131yla y\u00fczle\u015fmek zorunda kal\u0131rlar. Sonunda taklit edilen y\u0131ld\u0131zlar, bir bir s\u00f6ner ve kahramanlar \u00e7irkefin karanl\u0131\u011f\u0131nda kal\u0131rlar.<\/p>\n

Bitirirken: Her Devrin Bostanc\u0131 Sahili<\/strong><\/p>\n

  Kabul edece\u011finiz gibi Yesari\u2019nin anlatt\u0131\u011f\u0131 mesele yaln\u0131z 1930\u2019lar\u0131n Bostanc\u0131 sahiline has de\u011fildir. \u00d6z\u00fcm\u00fcz\u00fc kaybetti\u011fimizden beri her devirde bir \u201cBostanc\u0131 sahili\u201d gen\u00e7lerimizi \u00e7irkefine \u00e7ekmektedir. D\u00fcn bir k\u0131y\u0131yd\u0131, bug\u00fcn ba\u015fka bir meydan; d\u00fcn bir gazino \u0131\u015f\u0131\u011f\u0131yd\u0131, bug\u00fcn cebimizde parlayan bir ekran\u2026 Suret ba\u015fka olsa da mahiyeti, sireti hi\u00e7 de\u011fi\u015fmedi. Ve o savrulu\u015f hi\u00e7 eksilmedi. Hatta \u00e7a\u011f ilerledik\u00e7e \u00e7amur derinle\u015fti, \u0131\u015f\u0131k \u00e7o\u011fald\u0131k\u00e7a g\u00f6lgeler uzad\u0131. \u015eimdi o sahil yaln\u0131z bir semtin hududunda de\u011fil; \u015fehrin kalbinde, evlerimizin i\u00e7inde, avu\u00e7lar\u0131m\u0131z\u0131n aras\u0131nda. Her zamankinden daha g\u00f6r\u00fcn\u00fcr, her zamankinden daha cazip ve her zamankinden daha talepk\u00e2r. Ve gen\u00e7lik, bir zamanlar tek bir k\u0131y\u0131da oyalan\u0131rken, bug\u00fcn her y\u00f6nden uzanan say\u0131s\u0131z sahilin \u00e7a\u011fr\u0131s\u0131yla y\u00fcz y\u00fcze.<\/p>\n

        Bu y\u00fczden mesele yaln\u0131z bir devrin meselesi de\u011fildir. \u0130simler, nesiller de\u011fi\u015fse de o \u201cdosdo\u011fru yol\u201da var\u0131\u015f maalesef ger\u00e7ekle\u015fmemi\u015ftir. Yaz\u0131m\u0131z\u0131 nihayete erdirirken \u015funu da s\u00f6yleyelim: D\u00fcn Bostanc\u0131\u2019da g\u00f6r\u00fcnen manzara, bug\u00fcn g\u00f6rd\u00fcklerimizin kar\u015f\u0131s\u0131nda \u00e7ocuk e\u011flencesidir! \u015eimdilerde her t\u00fcrl\u00fc pislikten \u201ce\u011flence\u201d dev\u015firmeye \u00e7al\u0131\u015fan bizler i\u00e7in bu kartpostal biriktirip \u201csanat\u00e7\u0131\u201d denen birka\u00e7 m\u00fcptezeli taklit etmek g\u00fcl\u00fcnesi bir \u015feydir. Ancak kabul edersiniz ki \u00f6zden kopu\u015f, yoldan sap\u0131\u015f i\u00e7in en ufak bir yalpalama yeterlidir. Keza bug\u00fcnk\u00fc vard\u0131\u011f\u0131m\u0131z nokta, bunun en bariz \u00f6rne\u011fidir.<\/p>\n

        O y\u00fczden bu hakikati g\u00f6ren ariften m\u00fcnevverler g\u00fcn\u00fcm\u00fcze gelene kadar kendi devirlerindeki savrulu\u015flar\u0131 k\u0131yas\u0131ya ele\u015ftirmi\u015ftir. Bunlardan biri de \u201cBayrak\u201d \u015fairi Arif Nihat Asya\u2019d\u0131r. Biz de \u015fimdi son s\u00f6z\u00fc \u00fcstad\u0131m\u0131za b\u0131rakal\u0131m ve \u015fa\u015f\u0131rm\u0131\u015flardan yola \u00e7\u0131karak sana, bana, bize dair ne s\u00f6ylemi\u015f ona bakal\u0131m:<\/p>\n

       \u201cSen Hristiyan m\u0131s\u0131n? diye sorsan dar\u0131l\u0131r
\n        Y\u0131lba\u015f\u0131nda hindi kaz yemesine bay\u0131l\u0131r
\n        \u00c7am deviren hindi ki nas\u0131l m\u00fcmin say\u0131l\u0131r
\n        Bilmiyoruz \u00e7o\u011fumuz ne edip yap\u0131yoruz
\n        Bat\u0131, Bat\u0131 diyerek eyvah hep bat\u0131yoruz\u201d<\/p>\n

Bu Yaz\u0131 Onur Emrullah \u015eAVLI\u011e Taraf\u0131ndan Yaz\u0131lm\u0131\u015f Olup Yazar\u0131n\u0131n R\u0131zas\u0131yla Sitemizde Yay\u0131nlanm\u0131\u015ft\u0131r.<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Kim Arar Kim Sorar\/ Attila \u0130lhan Meyhaneler da\u011f\u0131lm\u0131\u015ft\u0131r Sarho\u015flar ma\u011flup Asfaltlar y\u0131ld\u0131r\u0131m h\u0131z\u0131yla so\u011fuyor Hava…<\/p>\n","protected":false},"author":22,"featured_media":4198,"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":[199],"class_list":["post-4197","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap"],"yoast_head":"\nTaklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - 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\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - simurgedebiyat.com\" \/>\n<meta property=\"og:description\" content=\"Kim Arar Kim Sorar\/ Attila \u0130lhan Meyhaneler da\u011f\u0131lm\u0131\u015ft\u0131r Sarho\u015flar ma\u011flup Asfaltlar y\u0131ld\u0131r\u0131m h\u0131z\u0131yla so\u011fuyor Hava...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\" \/>\n<meta property=\"og:site_name\" content=\"simurgedebiyat.com\" \/>\n<meta property=\"article:published_time\" content=\"2026-03-27T07:25:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-03-27T13:44:34+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"202\" \/>\n\t<meta property=\"og:image:height\" content=\"300\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Misafir Kalem\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Yazan:\" \/>\n\t<meta name=\"twitter:data1\" content=\"Misafir Kalem\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tahmini okuma s\u00fcresi\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 dakika\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\"},\"author\":{\"name\":\"Misafir Kalem\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/6cd4a2206085130e1c2f14da28db20be\"},\"headline\":\"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e)\",\"datePublished\":\"2026-03-27T07:25:59+00:00\",\"dateModified\":\"2026-03-27T13:44:34+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\"},\"wordCount\":4667,\"commentCount\":1,\"publisher\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#organization\"},\"image\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg\",\"articleSection\":[\"Kitap\"],\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\",\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\",\"name\":\"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - simurgedebiyat.com\",\"isPartOf\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg\",\"datePublished\":\"2026-03-27T07:25:59+00:00\",\"dateModified\":\"2026-03-27T13:44:34+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#breadcrumb\"},\"inLanguage\":\"tr\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage\",\"url\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg\",\"contentUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg\",\"width\":202,\"height\":300},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Anasayfa\",\"item\":\"https:\/\/simurgedebiyat.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e)\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/simurgedebiyat.com\/#website\",\"url\":\"https:\/\/simurgedebiyat.com\/\",\"name\":\"simurgedebiyat.com\",\"description\":\"edebiyat&K\u00fclt\u00fcr&Sanat&D\u00fc\u015f\u00fcnce \",\"publisher\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/simurgedebiyat.com\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"tr\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/simurgedebiyat.com\/#organization\",\"name\":\"simurgedebiyat.com\",\"url\":\"https:\/\/simurgedebiyat.com\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/11\/cropped-HHHHH-1.jpeg\",\"contentUrl\":\"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/11\/cropped-HHHHH-1.jpeg\",\"width\":245,\"height\":205,\"caption\":\"simurgedebiyat.com\"},\"image\":{\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/6cd4a2206085130e1c2f14da28db20be\",\"name\":\"Misafir Kalem\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"tr\",\"@id\":\"https:\/\/simurgedebiyat.com\/#\/schema\/person\/image\/23494c9101089ad44ae88ce9d2f56aac\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"caption\":\"Misafir Kalem\"},\"url\":\"https:\/\/simurgedebiyat.com\/index.php\/author\/misafir-kalem\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - simurgedebiyat.com","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/","og_locale":"tr_TR","og_type":"article","og_title":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - simurgedebiyat.com","og_description":"Kim Arar Kim Sorar\/ Attila \u0130lhan Meyhaneler da\u011f\u0131lm\u0131\u015ft\u0131r Sarho\u015flar ma\u011flup Asfaltlar y\u0131ld\u0131r\u0131m h\u0131z\u0131yla so\u011fuyor Hava...","og_url":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/","og_site_name":"simurgedebiyat.com","article_published_time":"2026-03-27T07:25:59+00:00","article_modified_time":"2026-03-27T13:44:34+00:00","og_image":[{"width":202,"height":300,"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","type":"image\/jpeg"}],"author":"Misafir Kalem","twitter_card":"summary_large_image","twitter_misc":{"Yazan:":"Misafir Kalem","Tahmini okuma s\u00fcresi":"18 dakika"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#article","isPartOf":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/"},"author":{"name":"Misafir Kalem","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/6cd4a2206085130e1c2f14da28db20be"},"headline":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e)","datePublished":"2026-03-27T07:25:59+00:00","dateModified":"2026-03-27T13:44:34+00:00","mainEntityOfPage":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/"},"wordCount":4667,"commentCount":1,"publisher":{"@id":"https:\/\/simurgedebiyat.com\/#organization"},"image":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage"},"thumbnailUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","articleSection":["Kitap"],"inLanguage":"tr","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/","url":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/","name":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e) - simurgedebiyat.com","isPartOf":{"@id":"https:\/\/simurgedebiyat.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage"},"image":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage"},"thumbnailUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","datePublished":"2026-03-27T07:25:59+00:00","dateModified":"2026-03-27T13:44:34+00:00","breadcrumb":{"@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#breadcrumb"},"inLanguage":"tr","potentialAction":[{"@type":"ReadAction","target":["https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/"]}]},{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#primaryimage","url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","contentUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","width":202,"height":300},{"@type":"BreadcrumbList","@id":"https:\/\/simurgedebiyat.com\/index.php\/2026\/03\/27\/taklidin-trajedisi-mahmut-yesarinin-su-sinekleri\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Anasayfa","item":"https:\/\/simurgedebiyat.com\/"},{"@type":"ListItem","position":2,"name":"Taklidin Trajedisi: Mahmut YESAR\u0130\u2019nin Su Sinekleri (Onur Emrullah \u015eAVLI\u011e)"}]},{"@type":"WebSite","@id":"https:\/\/simurgedebiyat.com\/#website","url":"https:\/\/simurgedebiyat.com\/","name":"simurgedebiyat.com","description":"edebiyat&K\u00fclt\u00fcr&Sanat&D\u00fc\u015f\u00fcnce ","publisher":{"@id":"https:\/\/simurgedebiyat.com\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/simurgedebiyat.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"tr"},{"@type":"Organization","@id":"https:\/\/simurgedebiyat.com\/#organization","name":"simurgedebiyat.com","url":"https:\/\/simurgedebiyat.com\/","logo":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/logo\/image\/","url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/11\/cropped-HHHHH-1.jpeg","contentUrl":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/11\/cropped-HHHHH-1.jpeg","width":245,"height":205,"caption":"simurgedebiyat.com"},"image":{"@id":"https:\/\/simurgedebiyat.com\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/6cd4a2206085130e1c2f14da28db20be","name":"Misafir Kalem","image":{"@type":"ImageObject","inLanguage":"tr","@id":"https:\/\/simurgedebiyat.com\/#\/schema\/person\/image\/23494c9101089ad44ae88ce9d2f56aac","url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","caption":"Misafir Kalem"},"url":"https:\/\/simurgedebiyat.com\/index.php\/author\/misafir-kalem\/"}]}},"featured_image_urls":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x250.jpg",202,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x182.jpg",202,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x216.jpg",202,216,true]},"author_info":{"display_name":"Misafir Kalem","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/misafir-kalem\/"},"category_info":"<a href=\"https:\/\/simurgedebiyat.com\/index.php\/category\/kitap\/\" rel=\"category tag\">Kitap<\/a>","tag_info":"Kitap","comment_count":"1","jetpack_featured_media_url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg","uagb_featured_image_src":{"full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"thumbnail":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-150x150.jpg",150,150,true],"medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"medium_large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"large":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"1536x1536":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"2048x2048":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-slider-full":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-slider-center":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-featured":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-medium":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"covernews-medium-square":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x250.jpg",202,250,true],"sow-carousel-default":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x182.jpg",202,182,true],"sow-blog-portfolio":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-blog-grid":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-blog-alternate":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari.jpg",202,300,false],"sow-recent-post":["https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/03\/Mahmut-Yesari-202x216.jpg",202,216,true]},"uagb_author_info":{"display_name":"Misafir Kalem","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/misafir-kalem\/"},"uagb_comment_info":5,"uagb_excerpt":"Kim Arar Kim Sorar\/ Attila \u0130lhan Meyhaneler da\u011f\u0131lm\u0131\u015ft\u0131r Sarho\u015flar ma\u011flup Asfaltlar y\u0131ld\u0131r\u0131m h\u0131z\u0131yla so\u011fuyor Hava...","authors":[{"term_id":199,"user_id":22,"is_guest":0,"slug":"misafir-kalem","display_name":"Misafir Kalem","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/MISAFIR-KALEM.jpg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2025\/10\/MISAFIR-KALEM.jpg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":""}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4197","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\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4197"}],"version-history":[{"count":2,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4197\/revisions"}],"predecessor-version":[{"id":4201,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4197\/revisions\/4201"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4198"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4197"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4197"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4197"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4197"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}