{"id":4762,"date":"2026-08-02T21:58:05","date_gmt":"2026-08-02T18:58:05","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4762"},"modified":"2026-08-02T21:58:32","modified_gmt":"2026-08-02T18:58:32","slug":"muhammet-durmusun-marlboro-sparring-marlboro-kitabi-uzerine","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/08\/02\/muhammet-durmusun-marlboro-sparring-marlboro-kitabi-uzerine\/","title":{"rendered":"Muhammet Durmu\u015f’un Marlboro Sparring Marlboro Kitab\u0131 \u00dczerine"},"content":{"rendered":"

\u00c7a\u011fda\u015f T\u00fcrk \u015fiiri, son y\u0131llarda anlat\u0131m imk\u00e2nlar\u0131n\u0131 geni\u015fleten, \u015fiir dilini yeni aray\u0131\u015flarla zenginle\u015ftiren eserlerle dikkat \u00e7ekiyor. Muhammet Durmu\u015f’un Matru\u015fka Yay\u0131nlar\u0131’ndan \u00e7\u0131kan ikinci \u015fiir kitab\u0131 Marlboro Sparring Marlboro<\/i><\/em>, bu y\u00f6neli\u015fin dikkate de\u011fer \u00f6rneklerinden biri olarak \u00f6ne \u00e7\u0131k\u0131yor. Altm\u0131\u015f sekiz sayfal\u0131k kitap, \u00fc\u00e7 b\u00f6l\u00fcm alt\u0131nda toplanan on \u00fc\u00e7 \u015fiirden olu\u015fuyor. \u015eair, ilk kitab\u0131nda benimsedi\u011fi \u015fiir anlay\u0131\u015f\u0131n\u0131 geride b\u0131rakarak imgeyi, ritmi ve \u00e7a\u011fr\u0131\u015f\u0131m\u0131 merkeze alan yeni bir poetik \u00e7izgi kuruyor. B\u00f6ylece \u015fiir, anlam\u0131 do\u011frudan aktaran bir metin olman\u0131n \u00f6tesinde, her okumada yeni ba\u011flant\u0131lar kuran, okuru yorum s\u00fcrecinin etkin bir par\u00e7as\u0131 h\u00e2line getiren canl\u0131 bir yap\u0131ya kavu\u015fuyor.<\/p>\n

Kitap, Szerelmem, Szerelmem, \u0130zle\u011fin K\u00f6r\u00fc<\/i><\/em> ve \u0130glo<\/i><\/em> ba\u015fl\u0131kl\u0131 \u00fc\u00e7 b\u00f6l\u00fcmden meydana geliyor. Bu b\u00f6l\u00fcmler, birbirinden ba\u011f\u0131ms\u0131z \u015fiir toplamlar\u0131 olarak okunmuyor; ayn\u0131 yolculu\u011fun birbirini tamamlayan duraklar\u0131 olarak ilerliyor. Szerelmem, Szerelmem<\/i><\/em> b\u00f6l\u00fcm\u00fcnde par\u00e7alanm\u0131\u015f \u015fehir hayat\u0131, g\u00fcndelik e\u015fya ve ferd\u00ee haf\u0131za \u00f6ne \u00e7\u0131karken; \u0130zle\u011fin K\u00f6r\u00fc<\/i><\/em>, bu k\u0131r\u0131lmalar\u0131n izini tarih, inan\u00e7, beden ve ortak haf\u0131za ekseninde s\u00fcr\u00fcyor. Kitab\u0131n son b\u00f6l\u00fcm\u00fc \u0130glo<\/i><\/em> ise tek \u015fiirlik yap\u0131s\u0131yla \u00f6nceki iki b\u00f6l\u00fcm\u00fcn izleklerini bir araya getiriyor; b\u00f6ylece hem kitab\u0131n i\u00e7 b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc tamaml\u0131yor hem de yeni bir \u015fiir y\u00fcr\u00fcy\u00fc\u015f\u00fcn\u00fcn kap\u0131s\u0131n\u0131 aral\u0131yor.<\/p>\n

Muhammet Durmu\u015f’un \u015fiirinde dikkat \u00e7eken en \u00f6nemli \u00f6zelliklerden biri, imgelerin birbirinden ba\u011f\u0131ms\u0131z g\u00f6r\u00fcnmesine kar\u015f\u0131n ortak bir \u015fiir a\u011f\u0131 kurabilmesidir. Bir \u015fiirde kar\u015f\u0131la\u015f\u0131lan nesne, ba\u015fka bir \u015fiirde yeni bir anlam kazan\u0131r; bir b\u00f6l\u00fcmde duyulan ses, sonraki b\u00f6l\u00fcmde ba\u015fka bir ba\u011flam i\u00e7inde yeniden belirir. B\u00f6ylece \u015fehir, \u00e7ocukluk, askerlik, deprem, sava\u015f, a\u015fk, g\u00fcndelik hayat, din, m\u00fczik ve pop\u00fcler k\u00fclt\u00fcr ayn\u0131 \u015fiir atlas\u0131n\u0131n par\u00e7alar\u0131na d\u00f6n\u00fc\u015f\u00fcr. \u015eair, bu geni\u015f malzemeyi tek bir anlat\u0131 etraf\u0131nda toplamaya \u00e7al\u0131\u015fmak yerine \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n do\u011fal ak\u0131\u015f\u0131n\u0131 izler.<\/p>\n

Bu \u015fiirlerde okur, do\u011frusal bir hik\u00e2yeyi takip etmez. Her imge yeni bir kap\u0131 aralar; her g\u00f6nderme ba\u015fka bir metne, ba\u015fka bir zamana ya da ba\u015fka bir hat\u0131raya uzan\u0131r. Bu y\u00f6n\u00fcyle Marlboro Sparring Marlboro<\/i><\/em>, ilk okumada b\u00fct\u00fcn s\u0131rlar\u0131n\u0131 a\u00e7an bir kitap de\u011fildir. Her d\u00f6n\u00fc\u015fte yeni ayr\u0131nt\u0131lar sunan, imgeler aras\u0131ndaki ba\u011flar\u0131 giderek belirginle\u015ftiren bir okuma tecr\u00fcbesi vaat eder.<\/p>\n

\u015eairin dili de bu poetik anlay\u0131\u015f\u0131n \u00f6nemli bir par\u00e7as\u0131d\u0131r. G\u00fcndelik konu\u015fma dili ile felsefeyi, asker\u00ee terminolojiyi, din\u00ee g\u00f6ndermeleri, tarih\u00ee olaylar\u0131, sinemay\u0131, m\u00fczi\u011fi ve \u015fehir hayat\u0131n\u0131 ayn\u0131 \u015fiir d\u00fczleminde bulu\u015fturur. Bu \u00e7ok sesli yap\u0131, \u015fiirlerin ritmini s\u00fcrekli hareket h\u00e2linde tutar. \u0130mgeler, a\u00e7\u0131klama amac\u0131 ta\u015f\u0131yan semboller olarak kurulmadan okurun zihninde \u00e7o\u011falan \u00e7a\u011fr\u0131\u015f\u0131mlar \u00fcretir.<\/p>\n

Szerelmem, Szerelmem: Par\u00e7alanm\u0131\u015f D\u00fcnyan\u0131n \u0130lk Haritas\u0131<\/i><\/b><\/em><\/strong><\/p>\n

Muhammet Durmu\u015f’un Marlboro Sparring Marlboro<\/i><\/em> kitab\u0131n\u0131n ilk b\u00f6l\u00fcm\u00fc, okuru klasik bir anlat\u0131n\u0131n g\u00fcvenli s\u0131n\u0131rlar\u0131na \u00e7a\u011f\u0131ran bir \u015fiir toplam\u0131 de\u011fildir. Bu b\u00f6l\u00fcmde \u015fehir, beden, haf\u0131za ve zaman s\u00fcrekli yer de\u011fi\u015ftiren imgeler arac\u0131l\u0131\u011f\u0131yla yeniden kurulur. B\u00f6l\u00fcm \u00f6zelinde se\u00e7ti\u011fim birbirini tamamlayan \u00fc\u00e7 \u015fiir olan Patrol, Show Business<\/i><\/em> ve Zebra Olay\u0131<\/i><\/em> ile \u015fair, modern insan\u0131n par\u00e7alanan hayat\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan ortak bir \u015fiir evreni in\u015fa eder. Bu evrende olaylar kadar nesneler, mek\u00e2nlar kadar k\u0131r\u0131nt\u0131lar ve g\u00fcndelik hayat kadar hat\u0131rlama bi\u00e7imleri de \u015fiirin asli unsurlar\u0131na d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

\u0130lk \u015fiir Patrol<\/i><\/em>, bu d\u00fcnyan\u0131n kap\u0131s\u0131n\u0131 aralar. Daha ilk dizelerde yer alan \u201cZamba\u011f\u0131 sulad\u0131m, o sar\u0131 i\u015faret parma\u011f\u0131n\u0131\u201d<\/i><\/em> ve \u201cPazar yerinde bahaneler arand\u0131m\u201d<\/i><\/em> s\u00f6zleri, al\u0131\u015f\u0131lm\u0131\u015f ger\u00e7eklik alg\u0131s\u0131n\u0131 k\u0131ran bir \u015fiir dili kurar. \u015eair, anlat\u0131s\u0131n\u0131 belirli bir olay \u00e7evresinde ilerletmek yerine, birbirine eklenen g\u00f6r\u00fcnt\u00fclerle \u00f6rer. B\u00f6ylece okur, tamamlanm\u0131\u015f bir hik\u00e2yenin takip\u00e7isi olmaktan \u00e7\u0131kar; par\u00e7alanm\u0131\u015f bir haf\u0131zan\u0131n tan\u0131\u011f\u0131 h\u00e2line gelir.<\/p>\n

\u015eiirde \u015fehir, yaln\u0131z ya\u015fanan bir yer olarak g\u00f6r\u00fcnmez; insan\u0131n zihnine yerle\u015fen a\u011f\u0131r bir y\u00fck kimli\u011fi kazan\u0131r. \u201cUyanmak bilmiyordu deniz\u201d<\/i><\/em> dizesi, zaman\u0131n a\u011f\u0131rla\u015ft\u0131\u011f\u0131, bekleyi\u015fin uzad\u0131\u011f\u0131 bir atmosfer olu\u015ftururken; \u201cveresiye defteri\u201d, \u201crakam\u0131 silinen tu\u015flar\u201d, \u201ctren\u00e7kot, f\u00f6tr \u015fapka, jagermeister\u201d<\/i><\/em> ve \u201ckomodine b\u0131rakt\u0131\u011f\u0131m di\u015fler\u201d<\/i><\/em> gibi ayr\u0131nt\u0131lar, g\u00fcndelik hayat\u0131n s\u0131radan nesnelerini haf\u0131zan\u0131n sessiz tan\u0131klar\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Bu nesneler yaln\u0131z bir dekor olu\u015fturmaz; anlat\u0131c\u0131n\u0131n ge\u00e7mi\u015fiyle kurdu\u011fu ili\u015fkinin par\u00e7alar\u0131n\u0131 ta\u015f\u0131r.<\/p>\n

\u015eiirin a\u011f\u0131rl\u0131k merkezi ise \u00fc\u00e7 kez yinelenen \u201cYa\u015famad\u0131m\u201d<\/i><\/em> s\u00f6z\u00fcd\u00fcr. Bu tekrar, eksik kalan hayat\u0131n, ertelenen umutlar\u0131n ve yar\u0131m kalan yolculuklar\u0131n sesi olarak \u015fiirin b\u00fct\u00fcn\u00fcne yay\u0131l\u0131r. \u00d6ncesinde gelen \u201cDualar ald\u0131m aktardan\u201d, \u201cSuda sektirdim birka\u00e7 seneyi\u201d<\/i><\/em> ve \u201cG\u00f6md\u00fcm, i\u00e7ini oydu\u011fum kitaplara\u201d<\/i><\/em> dizeleri, insan\u0131n tutunmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 yollar\u0131 g\u00f6sterirken, finalde yer alan \u201cBir gece devriyesi \u00e7evirdi beni \/ \u00c7abucak kendi lisan\u0131na\u201d<\/i><\/em> s\u00f6zleri, anlat\u0131c\u0131n\u0131n hayat kar\u015f\u0131s\u0131ndaki b\u00fcy\u00fck y\u00fczle\u015fmesini tamamlar. B\u00f6ylece Patrol, kitab\u0131n ilk b\u00f6l\u00fcm\u00fcn\u00fcn ruhunu belirleyen ilk e\u015fik olur.<\/p>\n

Bu atmosfer, Show Business<\/i><\/em> ile daha sert ve daha sars\u0131c\u0131 bir y\u00f6ne ilerler. \u015eair, modern hayat\u0131n parlak g\u00f6r\u00fcnt\u00fclerini par\u00e7alara ay\u0131r\u0131rken, g\u00f6sterinin arkas\u0131nda kalan yorgun insan\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar. \u201c\u0130zmaritler \/ Kesiklerden yap\u0131lma i\u00e7ki \u015fi\u015feleri \/ Ve birikmi\u015f faturalar\u0131 karanl\u0131\u011f\u0131n\u201d<\/i><\/em> dizeleri, ekonomik s\u0131k\u0131nt\u0131y\u0131, t\u00fckenmi\u015fli\u011fi ve ruh h\u00e2lini tek g\u00f6r\u00fcnt\u00fc i\u00e7inde toplar. Karanl\u0131k art\u0131k yaln\u0131z bir zaman dilimi de\u011fildir; insan\u0131n omzuna y\u00fcklenen hayat\u0131n ad\u0131d\u0131r.<\/p>\n

\u015eiirin ilerleyen b\u00f6l\u00fcmlerinde \u201cDavullardan, d\u00fc\u011f\u00fcnlerden uzakta \/ \u0130plerinde intihar\u0131 yokluyor kukla\u201d<\/i><\/em> dizeleri, bireyin y\u00f6n\u00fcn\u00fc belirleyen g\u00f6r\u00fcnmeyen g\u00fc\u00e7leri \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Kukla<\/i><\/em> imgesi, iradenin ku\u015fat\u0131ld\u0131\u011f\u0131 \u00e7a\u011fda\u015f hayat\u0131 simgelerken; \u201cKas\u0131klar\u0131m\u0131n karekodu si\u011fillerdir\u201d, \u201cUcuz men\u00fclerle dolu domuz kumbaras\u0131\u201d<\/i><\/em> ve \u201cDullar\u0131n h\u00e2l\u00e2 soluyan boyas\u0131\u201d<\/i><\/em> gibi \u00e7arp\u0131c\u0131 imgeler, t\u00fcketim d\u00fczenini, bedeni ve sosyal \u00e7\u00f6z\u00fclmeyi ayn\u0131 \u015fiir alan\u0131nda bulu\u015fturur.<\/p>\n

\u015eair, mukaddes olanla g\u00fcndelik olan\u0131 da ayn\u0131 \u015fiir \u00e7izgisi \u00fczerinde bulu\u015fturur. \u201cYanacak korkusuyla y\u0131kad\u0131m ellerimi \/ Hac yolunda \u00e7e\u015fmelerden ge\u00e7tim \/ Tavafta buldu\u011fum bir avu\u00e7 tuzdu\u201d<\/i><\/em> dizeleri, ar\u0131nma arzusuyla hayat\u0131n y\u00fck\u00fcn\u00fc ayn\u0131 potada eritir. Ard\u0131ndan gelen \u201c\u0130\u015f makinelerini izledim \/ Otel se\u00e7tim \/ Meydanda a\u011fdal\u0131 bombalar e\u011flencesi\u201d<\/i><\/em> s\u00f6zleri, \u00e7a\u011fda\u015f d\u00fcnyan\u0131n in\u015fa ve y\u0131k\u0131m\u0131 ayn\u0131 anda ta\u015f\u0131yan y\u00fcz\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lar. K\u0131sa diyalog bi\u00e7imindeki \u201cD\u00fcrb\u00fcn\u00fc indir.\u201d \u2013 \u201cD\u00fcrb\u00fcn\u00fc indiriyorum.\u201d<\/i><\/em> b\u00f6l\u00fcm\u00fc ise bak\u0131\u015f\u0131n s\u0131n\u0131rland\u0131r\u0131lmas\u0131n\u0131 simgeleyen g\u00fc\u00e7l\u00fc bir k\u0131r\u0131lma noktas\u0131 olu\u015fturur.<\/p>\n

\u015eiirin finalinde yer alan \u201cY\u00fcz\u00fc\u011f\u00fcm kalayc\u0131da ni\u015fad\u0131r bekler\u201d<\/i><\/em> dizesi, onar\u0131lmay\u0131 bekleyen ba\u011flar\u0131 imgeler. Hemen ard\u0131ndan gelen \u201cS\u00fczd\u00fc\u011f\u00fcm petekler yap\u0131\u015f-yap\u0131\u015f-kan\u201d <\/i><\/em>s\u00f6z\u00fc eme\u011fin bedelini g\u00f6r\u00fcn\u00fcr k\u0131larken, \u201cBeni ulu orta rezil eden h\u0131\u00e7k\u0131r\u0131kt\u0131r \/ Kendime \u00e7evirince teklemeyen tabanca\u201d<\/i><\/em> dizeleri anlat\u0131c\u0131n\u0131n en a\u011f\u0131r hesapla\u015fmas\u0131n\u0131 kendi varl\u0131\u011f\u0131 \u00fczerinden kurar. B\u00f6ylece Show Business<\/i><\/em>, kitab\u0131n ilk b\u00f6l\u00fcm\u00fcnde \u015fehir hayat\u0131n\u0131n g\u00fcr\u00fclt\u00fcs\u00fcn\u00fc insan\u0131n i\u00e7 sesine d\u00f6n\u00fc\u015ft\u00fcren \u00f6nemli halkalardan biri olur.<\/p>\n

\u0130lk b\u00f6l\u00fcm\u00fcn \u00fc\u00e7\u00fcnc\u00fc dura\u011f\u0131 olarak se\u00e7ti\u011fim Zebra Olay\u0131<\/i><\/em>, bu par\u00e7alanm\u0131\u015f evreni beden ve haf\u0131za ekseninde tamamlar. \u015eair, \u201cIs\u0131rganda buldu\u011fum hazz\u0131 a\u011f\u0131rlad\u0131m \/ Anlad\u0131m Allah’\u0131n s\u0131fatlar\u0131n\u0131\u201d<\/i><\/em> dizeleriyle ac\u0131 ile sevinci ayn\u0131 imge i\u00e7inde bulu\u015fturur. B\u00f6ylece fiziki tecr\u00fcbe, varolu\u015f aray\u0131\u015f\u0131na a\u00e7\u0131lan bir kap\u0131 h\u00e2line gelir.<\/p>\n

\u015eiirin ilerleyen b\u00f6l\u00fcmlerinde \u201c\u00c7\u00f6ken uylu\u011fum ve penisilin, otuzda b\u0131rakt\u0131 beni\u201d, \u201cFundal\u0131\u011f\u0131n kokusundan gen\u00e7tim\u201d<\/i><\/em> ve \u201c\u00c7\u00fcr\u00fcm\u00fc\u015f bir g\u00f6lden i\u00e7tim bekleyi\u015fi\u201d<\/i><\/em> dizeleri, beden ile haf\u0131zay\u0131 ortak bir \u015fiir alan\u0131nda bulu\u015fturur. Kokular, yaralar ve bekleyi\u015f, insan \u00f6mr\u00fcn\u00fcn ta\u015f\u0131d\u0131\u011f\u0131 izleri g\u00f6r\u00fcn\u00fcr k\u0131lar. Ard\u0131ndan gelen \u201cSeni bo\u011fdum! Kalbin, \/ Son g\u00fcmb\u00fcrt\u00fcs\u00fcyle iyile\u015fen parkinsondu\u201d<\/i><\/em> s\u00f6z\u00fc, al\u0131\u015f\u0131lm\u0131\u015f anlam ili\u015fkilerini zorlayan s\u00f6yleyi\u015fiyle \u015fiirin gerilimini art\u0131r\u0131r.<\/p>\n

\u015eair, \u201cBir par\u00e7a bozk\u0131rd\u0131m \u015fezlongda\u201d<\/i><\/em> ve \u201cGe\u00e7mi\u015fe katland\u0131\u011f\u0131m origami de orada\u201d<\/i><\/em> dizeleriyle haf\u0131zay\u0131 katlanm\u0131\u015f bir k\u00e2\u011f\u0131t gibi yeniden a\u00e7ar. Ge\u00e7mi\u015f, anlat\u0131c\u0131n\u0131n omzunda ta\u015f\u0131nan bir y\u00fck kimli\u011fi kazan\u0131rken, \u201cKendime inen yoku\u015fta par\u00e7al\u0131 ten giyindim\u201d<\/i><\/em> ve \u201cT\u0131rpani uykusuzluk bi\u00e7ti geceyi\u201d<\/i><\/em> s\u00f6zleri, insan\u0131n kendi varl\u0131\u011f\u0131na yapt\u0131\u011f\u0131 yolculu\u011fu g\u00fc\u00e7l\u00fc imgeler arac\u0131l\u0131\u011f\u0131yla anlat\u0131r.<\/p>\n

Finalde yer alan \u201cY\u0131rt\u0131lan ete\u011fin, d\u00f6k\u00fclen kelimeler\u201d, \u201cH\u0131rlayan bir yapraks\u0131n i\u015fte sonunda\u201d<\/i><\/em> ve \u201cAd\u0131m, k\u0131r\u0131lan s\u00fct di\u015flerindi \/ Ahizeyi kald\u0131r\u0131nca ne hat\u0131rlad\u0131n?\u201d<\/i><\/em> dizeleri ise \u00e7ocukluk, kay\u0131p ve haf\u0131zay\u0131 tek bir \u015fiir halkas\u0131nda birle\u015ftirir. \u015eiir, okura cevaplar sunmak yerine, kendi haf\u0131zas\u0131na y\u00f6nelten bir soruyla tamamlan\u0131r.<\/p>\n

Bu \u00fc\u00e7 \u015fiir birlikte okundu\u011funda, Szerelmem, Szerelmem<\/i><\/em> ba\u015fl\u0131kl\u0131 ilk b\u00f6l\u00fcm\u00fcn ortak poetikas\u0131 daha belirgin bi\u00e7imde ortaya \u00e7\u0131kar. Muhammet Durmu\u015f, par\u00e7alanm\u0131\u015f g\u00f6r\u00fcnt\u00fclerden hareketle \u00e7a\u011fda\u015f insan\u0131n ruh h\u00e2lini resmeder. \u015eehir, beden, e\u015fya, kutsal mek\u00e2nlar, \u00e7ocukluk, g\u00fcndelik hayat ve haf\u0131zan\u0131n k\u0131r\u0131nt\u0131lar\u0131 ayn\u0131 \u015fiir atlas\u0131 i\u00e7inde bulu\u015fur. \u015eairin imgeleri a\u00e7\u0131klama amac\u0131 ta\u015f\u0131maz; \u00e7a\u011fr\u0131\u015f\u0131m alanlar\u0131 a\u00e7ar. Bu y\u00f6n\u00fcyle her \u015fiir, ilk okumada dikkat \u00e7eken bir g\u00f6r\u00fcnt\u00fc sunarken, sonraki okumalarla yeni anlam katmanlar\u0131 kazan\u0131r.<\/p>\n

Marlboro Sparring Marlboro<\/i><\/em>‘nun ilk b\u00f6l\u00fcm\u00fc, okuru par\u00e7alanm\u0131\u015f bir d\u00fcnyan\u0131n haritas\u0131n\u0131 okumaya davet eder. Bu haritada yollar d\u00fcz ilerlemez; zaman k\u0131r\u0131l\u0131r, mek\u00e2n yer de\u011fi\u015ftirir, e\u015fya konu\u015fur, beden haf\u0131zaya d\u00f6n\u00fc\u015f\u00fcr. \u015eair de b\u00fct\u00fcn bu par\u00e7alar\u0131 \u00e7a\u011fda\u015f \u015fiirin imk\u00e2nlar\u0131yla bir araya getirerek, ilk b\u00f6l\u00fcm boyunca kendi sesini kuran g\u00fc\u00e7l\u00fc ve \u00f6zg\u00fcn bir \u015fiir evreni olu\u015fturur.<\/p>\n

\u0130zle\u011fin K\u00f6r\u00fc<\/i><\/b><\/em><\/strong>; Haf\u0131zan\u0131n Karanl\u0131\u011f\u0131nda Y\u00fcr\u00fcyen \u015eiir<\/b><\/strong><\/p>\n

Marlboro Sparring Marlboro<\/i><\/em>‘nun ikinci b\u00f6l\u00fcm\u00fc, ilk b\u00f6l\u00fcmde kurulan \u015fiir evrenini yeni bir d\u00fc\u015f\u00fcnce alan\u0131na ta\u015f\u0131r. Szerelmem, Szerelmem<\/i><\/em> ba\u015fl\u0131\u011f\u0131 alt\u0131nda \u015fehir, e\u015fya ve g\u00fcndelik hayat\u0131n k\u0131r\u0131k g\u00f6r\u00fcnt\u00fcleri \u00f6ne \u00e7\u0131karken, \u0130zle\u011fin K\u00f6r\u00fc<\/i><\/em> bu par\u00e7alanman\u0131n kayna\u011f\u0131na y\u00f6nelir. Haf\u0131za art\u0131k yaln\u0131z \u015fahsi ya\u015fant\u0131n\u0131n kay\u0131t alan\u0131 de\u011fildir; tarih, inan\u00e7, siyaset, sava\u015f, \u00e7ocukluk ve co\u011frafya ayn\u0131 zihin haritas\u0131n\u0131n farkl\u0131 duraklar\u0131na d\u00f6n\u00fc\u015f\u00fcr. \u015eair, \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 art arda s\u0131ralayarak okuru do\u011frusal bir anlat\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131kar\u0131r ve par\u00e7alar\u0131n birbirini tamamlad\u0131\u011f\u0131 geni\u015f bir \u015fiir a\u011f\u0131 kurar.<\/p>\n

Bu b\u00f6l\u00fcmde \u015fiirler tek tek okunabilecek metinler olman\u0131n \u00f6tesine ge\u00e7er. Bir \u015fiirde kar\u015f\u0131la\u015f\u0131lan imge ba\u015fka bir \u015fiirde yeni bir anlam kazan\u0131r; bir s\u00f6zc\u00fc\u011f\u00fcn b\u0131rakt\u0131\u011f\u0131 yank\u0131 ilerleyen sayfalarda yeniden duyulur. B\u00f6ylece b\u00f6l\u00fcm, kendi i\u00e7 ritmini kuran b\u00fct\u00fcnl\u00fckl\u00fc bir \u015fiir dizisine d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Bu poetik y\u00f6neli\u015fin ilk dura\u011f\u0131 olarak Lazarus-Taxon<\/i><\/em> \u015fiirini belirledim. Ba\u015fl\u0131\u011f\u0131n ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6ndermeler bile \u015fiirin d\u00fc\u015f\u00fcnce eksenini a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r. Lazarus, \u00f6l\u00fcmden d\u00f6n\u00fc\u015f\u00fc; Taxon ise yeniden s\u0131n\u0131fland\u0131rmay\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. \u015eair, insan\u0131 yeniden adland\u0131rmaya \u00e7al\u0131\u015fan bir sorgulamayla s\u00f6ze ba\u015flar.<\/p>\n

\u015eiirin a\u00e7\u0131l\u0131\u015f\u0131ndaki “-merhaba -hay\u0131r! \/ -merhaba -hay\u0131r!”<\/i><\/em> kar\u015f\u0131la\u015fmas\u0131, kabul ile reddin ayn\u0131 anda ya\u015fand\u0131\u011f\u0131 bir ruh iklimi kurar. Ard\u0131ndan gelen “Ayak ba\u011f\u0131m d\u00fcz kayan\u0131n alt\u0131nda yat\u0131yor \/ Takla at\u0131yor yaz kuran kursunda”<\/i><\/em> dizeleri \u00e7ocuklukla bug\u00fcn\u00fc ayn\u0131 haf\u0131zada bulu\u015fturur. \u00c7ocukluk burada g\u00fcvenli bir s\u0131\u011f\u0131nak olmaktan \u00e7\u0131kar; insan\u0131n \u00f6mr\u00fc boyunca ta\u015f\u0131d\u0131\u011f\u0131 k\u0131r\u0131k par\u00e7alar\u0131n ilk dura\u011f\u0131na d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

\u015eair, g\u00fcndelik hayat\u0131n nesnelerini \u015fiirin temel yap\u0131 ta\u015flar\u0131 h\u00e2line getirir. “Y\u0131rt\u0131k fi\u015fler, dilek\u00e7eler, \u00e7akmak alaz\u0131”, “Pasl\u0131 \u00e7aydanl\u0131k \u00e7\u00fcr\u00fck bir di\u015f gibi dikiliyor ocakta”<\/i><\/em> ve “Merdivende yal\u0131nayak k\u0131zlar”<\/i><\/em> dizeleri, s\u0131radan g\u00f6r\u00fcnt\u00fcleri g\u00fc\u00e7l\u00fc \u00e7a\u011fr\u0131\u015f\u0131mlara d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. E\u015fya, yaln\u0131z \u00e7evreyi anlatan bir unsur olarak kalmaz; ya\u015fanm\u0131\u015fl\u0131\u011f\u0131n sessiz tan\u0131\u011f\u0131 h\u00e2line gelir.<\/p>\n

\u015eiirin ilerleyen b\u00f6l\u00fcmlerinde yinelenen “-hay\u0131r!”<\/i><\/em> sesi, anlat\u0131c\u0131n\u0131n yaln\u0131z \u00e7evresiyle kurdu\u011fu gerilimi anlatmakla yetinmeyip al\u0131\u015fkanl\u0131klarla, kabullerle ve hayat\u0131n dayatt\u0131\u011f\u0131 kal\u0131plarla giri\u015fti\u011fi hesapla\u015fmay\u0131 da g\u00f6r\u00fcn\u00fcr k\u0131lar. Bu nedenle “Al\u0131\u015fkanl\u0131kt\u0131r g\u00fc\u00e7l\u00fc olan.”<\/i><\/em> dizesi, ikinci b\u00f6l\u00fcm\u00fcn d\u00fc\u015f\u00fcnce omurgas\u0131n\u0131 kuran en \u00f6nemli c\u00fcmlelerden biri olarak \u00f6ne \u00e7\u0131kar.<\/p>\n

\u015eair, ferd\u00ee haf\u0131zay\u0131 sosyal ac\u0131larla bulu\u015fturmay\u0131 da s\u00fcrd\u00fcr\u00fcr. “Kap\u0131lar gittik\u00e7e a\u011f\u0131rla\u015f\u0131r Ortado\u011fu’da”, “B\u0131\u00e7aklar\u0131 uzak tutun, kravat\u0131, balkonu” <\/i><\/em>dizeleri, \u00e7a\u011f\u0131n k\u0131r\u0131lmalar\u0131n\u0131 birka\u00e7 s\u00f6zc\u00fckle g\u00f6r\u00fcn\u00fcr h\u00e2le getirir. Finalde yer alan “<\/b><\/strong>Tanr\u0131s\u0131z, kitaps\u0131z da olsan \/ Tutun solo sabah namazlar\u0131na \/ Ya\u015fama ya da \u00f6lme \/ Yeni bir \u015fey bul.”<\/i><\/em> \u00e7a\u011fr\u0131s\u0131 ise b\u00f6l\u00fcm\u00fcn y\u00f6n\u00fcn\u00fc belirleyen g\u00fc\u00e7l\u00fc bir kapan\u0131\u015f niteli\u011fi ta\u015f\u0131r. Burada okur, kesin cevaplardan ziyade yeni bir aray\u0131\u015f fikriyle ba\u015f ba\u015fa kal\u0131r.<\/p>\n

Bu aray\u0131\u015f Tekinsiz Uysall\u0131k<\/i><\/em> ile daha geni\u015f bir alana yay\u0131l\u0131r. \u015eair, bu kez \u00e7ocukluk, e\u011fitim hayat\u0131, siyasi d\u00fc\u015f\u00fcnceler, din, sava\u015f ve depremi tek bir haf\u0131za \u00e7izgisinde bulu\u015fturur. Kronolojik bir anlat\u0131m yerine \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131n ritmini izler. B\u00f6ylece insan\u0131n zihni, y\u0131llar boyunca biriken seslerin ortak mek\u00e2n\u0131na d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

“\u0130stikamet: kuv\u00f6z.”<\/i><\/em> dizesi, ya\u015fam\u0131n ilk dura\u011f\u0131n\u0131 simgeler. Hemen ard\u0131ndan gelen “<\/b><\/strong>Serumun alkol oran\u0131 vahye be\u015f var”<\/i><\/em> s\u00f6z\u00fc, biyolojik ger\u00e7eklikle kutsal g\u00f6ndermeleri ortak bir s\u00f6yleyi\u015f i\u00e7inde bulu\u015fturur. Ard\u0131ndan \u00e7ocukluk sert bir y\u00fczle belirir: “M\u0131s\u0131r tarlas\u0131nda \u00e7ocukluk maratonu \/ Dayak \u0131sl\u0131\u011f\u0131yla ba\u015flar.”<\/i><\/em> \u015eair, b\u00fcy\u00fcmenin bedelini romantik bir hat\u0131raya d\u00f6n\u00fc\u015ft\u00fcrmeden anlat\u0131r.<\/p>\n

\u015eiirin en dikkat \u00e7ekici y\u00f6nlerinden biri, anlat\u0131c\u0131n\u0131n d\u00fc\u015f\u00fcnce yolculu\u011funu a\u00e7\u0131k bi\u00e7imde g\u00f6r\u00fcn\u00fcr k\u0131lmas\u0131d\u0131r. “On d\u00f6rd\u00fcmde K\u00fcba’ya ve Lenin’e”, “On sekizde Nurs\u00ee’ye kro\u015fe ve b\u00fcy\u00fck s\u00f6zler.”<\/i><\/em> dizeleri, insan\u0131n gen\u00e7lik y\u0131llar\u0131nda ge\u00e7ti\u011fi ruhi duraklar\u0131 art arda s\u0131ralar. Her durak yeni bir aray\u0131\u015f\u0131n kap\u0131s\u0131n\u0131 a\u00e7ar; hi\u00e7bir durak son s\u00f6z niteli\u011fi ta\u015f\u0131maz.<\/p>\n

Toplum haf\u0131zas\u0131 \u015fiirin son b\u00f6l\u00fcm\u00fcnde daha g\u00fc\u00e7l\u00fc hissedilir. “Barutla vaftiz edilmi\u015f \u00e7ocuklarla dolu valiz”, “Topra\u011f\u0131 ka\u015f\u0131kla, i\u00e7eri girsin Akdeniz” ve “Pencereyi a\u00e7t\u0131n: otuz ya\u015f \/ A\u011flad\u0131n: \u0130skenderun y\u0131k\u0131ld\u0131.”<\/i><\/em> dizeleri, ferd\u00ee hik\u00e2yeyi ortak ac\u0131n\u0131n haf\u0131zas\u0131na ba\u011flar. Sonunda \u00fc\u00e7 kez yinelenen “Ne s\u00f6yledin de d\u00fc\u015fmedi \/ Yasin okunan sedir yapraklar\u0131na.”<\/i><\/em> sorusu ise cevaptan \u00e7ok yank\u0131y\u0131 b\u00fcy\u00fct\u00fcr. \u015eiir, bitmi\u015f bir c\u00fcmle yerine zihinde ya\u015famay\u0131 s\u00fcrd\u00fcren bir ses b\u0131rak\u0131r.<\/p>\n

\u0130kinci b\u00f6l\u00fcm\u00fcn merkezinde yer alan Marlboro Sparring Marlboro,<\/i><\/em> \u00f6nceki iki \u015fiirde kurulan b\u00fct\u00fcn temalar\u0131 ortak bir simge etraf\u0131nda toplar. Hayat art\u0131k bir ringdir; insan ise her raundunda yeniden aya\u011fa kalkmaya \u00e7al\u0131\u015fan boks\u00f6r. \u015eair, sinema dili, m\u00fczik ritmi ve spor metaforlar\u0131n\u0131 ayn\u0131 \u015fiir \u00e7at\u0131s\u0131 alt\u0131nda bir araya getirerek b\u00f6l\u00fcm\u00fcn en hareketli metnini kurar.<\/p>\n

\u015eiirin a\u00e7\u0131l\u0131\u015f\u0131ndaki “tez elden pirelendin rica et koltuk de\u011fi\u015f”<\/i><\/em> ve “h\u00e2l\u00e2 \u00e7\u00f6z\u00fclmedi sabah\u0131n anagram\u0131”<\/i><\/em> dizeleri, s\u00fcrekli yer de\u011fi\u015ftiren hayat\u0131 ve \u00e7\u00f6z\u00fclemeyen zaman\u0131 simgeler. G\u00fcndelik e\u015fyalar yine \u015fiirin merkezindedir: “Mermerime takunya getir”, “i\u00e7li sessizlik men\u00fcde yok”, “aralanan g\u00f6zlerle sigarayak bekleyi\u015f.”<\/i><\/em> Bu ayr\u0131nt\u0131lar, anlat\u0131c\u0131n\u0131n ruh h\u00e2lini g\u00f6r\u00fcn\u00fcr k\u0131lan simgelere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

\u015eiirin sinematografik yap\u0131s\u0131 dikkat \u00e7ekicidir. “\u0130K.”, “sahne bir plan bir kay\u0131t iki”<\/i><\/em> ve “kay\u0131t \u00fc\u00e7”<\/i><\/em> ifadeleri, hayat\u0131 yeniden \u00e7ekilen bir film gibi kurar. Ard\u0131ndan gelen “<\/b><\/strong>g\u00f6zl\u00fck, ilk kavgada<\/i><\/em> <\/b><\/strong>kald\u0131.”<\/i><\/em> s\u00f6z\u00fc, insan\u0131n d\u00fcnyaya bak\u0131\u015f\u0131ndaki ilk b\u00fcy\u00fck k\u0131r\u0131lmay\u0131 simgeler.<\/p>\n

\u015eiirin ritmini belirleyen as\u0131l unsur ise boks metaforudur. “SPARRING. SPARRING.”, “knock down”, “knock out”<\/i><\/em> tekrarlar\u0131, yaln\u0131z sporun dili olarak kullan\u0131lmaz; ya\u015faman\u0131n kesintisiz m\u00fccadelesini temsil eder. “Otuz y\u0131ld\u0131r ayakta, ringde.”<\/i><\/em> dizesi, kitab\u0131n b\u00fct\u00fcn\u00fcnde dola\u015fan direnme fikrini tek c\u00fcmlede \u00f6zetler.<\/p>\n

\u015eair, bu m\u00fccadeleyi ferd\u00ee alandan \u00e7\u0131kararak \u00e7a\u011f\u0131n ortak haf\u0131zas\u0131na ta\u015f\u0131r. “Philip Morris \/ sar\u0131 filtreyi a\u011f\u0131zlara g\u00f6t\u00fcr\u00fcr \/ 1955’te.”<\/i><\/em> dizeleri, t\u00fcketim k\u00fclt\u00fcr\u00fcn\u00fc tarih\u00ee bir arka planla bulu\u015ftururken; “Elim deniz feneri, elim ask\u0131da \u00e7\u0131\u011fl\u0131k \/ Elim bir olay\u0131n pasl\u0131 \u00e7ark\u0131na kap\u0131ld\u0131.” <\/i><\/em>s\u00f6zleri insan\u0131n modern hayat kar\u015f\u0131s\u0131ndaki s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcn\u00fcr h\u00e2le getirir.<\/p>\n

\u015eiirin sonunda y\u00fckselen “Uyuyamam. \/ UYUYAMAM!”<\/i><\/em> hayk\u0131r\u0131\u015f\u0131, b\u00f6l\u00fcm boyunca biriken gerilimin sesidir. Ard\u0131ndan gelen “perk\u00fcsyon ba\u015flad\u0131 ba\u015flayacak”, “g\u00fcn vokalist”<\/i><\/em> ve “ambulans\u0131n birden kesilen sireni” <\/i><\/em>dizeleri, hayat\u0131 b\u00fcy\u00fck bir sahneye d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. G\u00fcr\u00fclt\u00fc, m\u00fczik, siren ve kalp at\u0131\u015f\u0131 ayn\u0131 ritimde birle\u015firken, okur da bu hareketin i\u00e7ine \u00e7ekilir. Son dizelerde yer alan “y\u00fck\u00fcm, g\u00fczelli\u011fim benim \/ d\u00fc\u011f\u00fcmlerim sa\u00e7lar\u0131m \u00fclk\u00fcm.”<\/i><\/em> s\u00f6zleri ise b\u00fct\u00fcn m\u00fccadelenin ard\u0131ndan insan\u0131n omzunda kalan y\u00fck\u00fc ve umudu birlikte ta\u015f\u0131r.<\/p>\n

\u0130zle\u011fin K\u00f6r\u00fc<\/i><\/em>, ilk b\u00f6l\u00fcmde ba\u015flayan \u015fiir yolculu\u011funu yeni bir d\u00fc\u015f\u00fcnce katman\u0131na ula\u015ft\u0131r\u0131r. Muhammet Durmu\u015f, bu b\u00f6l\u00fcmde haf\u0131zay\u0131 ferd\u00ee ya\u015fant\u0131n\u0131n s\u0131n\u0131rlar\u0131ndan \u00e7\u0131kararak ortak insanl\u0131k tecr\u00fcbesinin alan\u0131na ta\u015f\u0131r. \u00c7ocukluk, inan\u00e7, siyaset, sava\u015f, deprem, \u015fehir, sinema, m\u00fczik ve g\u00fcndelik hayat ayn\u0131 \u015fiir atlas\u0131nda bulu\u015fur. \u015eiirler birbirini a\u00e7\u0131klamak yerine birbirini tamamlar; biri \u00f6tekinde eksik kalan sesi ta\u015f\u0131r. B\u00f6ylece ikinci b\u00f6l\u00fcm, \u00e7a\u011fda\u015f T\u00fcrk \u015fiirinde par\u00e7al\u0131 anlat\u0131m\u0131n imk\u00e2nlar\u0131n\u0131 g\u00fc\u00e7l\u00fc bir imge disipliniyle birle\u015ftiren, kendi i\u00e7 b\u00fct\u00fcnl\u00fc\u011f\u00fcn\u00fc kurmu\u015f dikkat \u00e7ekici bir poetik yap\u0131 olarak kitab\u0131n merkezindeki yerini al\u0131r.<\/p>\n

\"\ud83d\udccdH\u00fcmeyra<\/p>\n

\u0130glo<\/i><\/b><\/em><\/strong>; So\u011fuyan D\u00fcnyada Son Bir S\u0131\u011f\u0131nak<\/b><\/strong><\/p>\n

Marlboro Sparring Marlboro<\/i><\/em> kitab\u0131n\u0131n son b\u00f6l\u00fcm\u00fc olan \u0130glo<\/i><\/em>, tek bir \u015fiirden olu\u015fmas\u0131na kar\u015f\u0131n kitab\u0131n b\u00fct\u00fcn\u00fcn\u00fc tamamlayan g\u00fc\u00e7l\u00fc bir kapan\u0131\u015f niteli\u011fi ta\u015f\u0131r. Muhammet Durmu\u015f, “\u00d6nceyi\u015f”<\/i><\/em> b\u00f6l\u00fcm\u00fcnde ilk k\u0131sm\u0131 “te\u015fhis”<\/i><\/em>, ikinci k\u0131sm\u0131 “tedavi”,<\/i><\/em> son k\u0131sm\u0131 ise yeni bir yola a\u00e7\u0131lan ilk izler olarak tan\u0131mlar. Bu bak\u0131mdan S\u00fct ve Sigara<\/i><\/em>, \u00f6nceki iki b\u00f6l\u00fcm boyunca kurulan \u015fiir evrenini tek bir metinde yeniden toplar; \u015fehir, haf\u0131za, sava\u015f, \u00e7ocukluk, inan\u00e7, a\u015fk ve \u00f6l\u00fcm ayn\u0131 \u015fiir alan\u0131nda bulu\u015fur.<\/p>\n

\u015eiirin ilk dikkat \u00e7eken y\u00f6n\u00fc bi\u00e7imidir. On d\u00f6rt ba\u015fl\u0131k alt\u0131nda ilerleyen yap\u0131, asker\u00ee komutlarla a\u00e7\u0131l\u0131p yine asker\u00ee komutlarla kapan\u0131r. “Haz\u0131r ol!”<\/i><\/em> ve “Rahat!”<\/i><\/em> sesleni\u015fleri yaln\u0131z k\u0131\u015fla d\u00fczenini \u00e7a\u011fr\u0131\u015ft\u0131ran ifadeler de\u011fildir; hayat\u0131n insan\u0131 s\u00fcrekli disiplin alt\u0131nda tutan g\u00f6r\u00fcnmez d\u00fczenini de simgeler. B\u00f6l\u00fcmler ilerledik\u00e7e okur, asker\u00ee e\u011fitim alan\u0131ndan insan haf\u0131zas\u0131n\u0131n en k\u0131r\u0131lgan b\u00f6lgelerine do\u011fru uzanan uzun bir y\u00fcr\u00fcy\u00fc\u015fe \u00e7\u0131kar.<\/p>\n

\u0130lk b\u00f6l\u00fcmde yer alan “G\u00fcne\u015f bataryas\u0131 i\u00e7timada haz\u0131r”, “Korkulu\u011fun n\u00f6bet de\u011fi\u015fimi ne zaman?”<\/i><\/em> ve “Ma\u011frib’den Fransa’ya”<\/i><\/em> dizeleri, co\u011frafyan\u0131n geni\u015fleyen s\u0131n\u0131rlar\u0131n\u0131 g\u00f6sterirken, bireyin yer de\u011fi\u015ftiren kimli\u011fini de g\u00f6r\u00fcn\u00fcr k\u0131lar. Ayn\u0131 b\u00f6l\u00fcmde yinelenen “G\u00fcnayd\u0131n \u2013 Sa\u011f ol!”<\/i><\/em> kar\u015f\u0131la\u015fmas\u0131, Lazarus-Taxon<\/i><\/em> \u015fiirindeki “-merhaba -hay\u0131r!”<\/i><\/em> sesleni\u015fini hat\u0131rlat\u0131r. B\u00f6ylece kitab\u0131n son \u015fiiri, \u00f6nceki b\u00f6l\u00fcmlerle g\u00f6r\u00fcnmeyen ba\u011flar\u0131n\u0131 daha ilk sayfalarda kurmaya ba\u015flar.<\/p>\n

\u015eair, askerlik hayat\u0131na ait ayr\u0131nt\u0131lar\u0131 \u015fiirin merkezine yerle\u015ftirirken bunlar\u0131 belgesel bir anlat\u0131 olarak kullanmaz. “Sivil depoda b\u00fct\u00fcn g\u00f6lgeler numaraland\u0131r\u0131lm\u0131\u015ft\u0131r”, “Foto\u011frafta bo\u015f kovan ve ar\u0131lar”, “Kulakl\u0131ktan c\u0131z\u0131rt\u0131l\u0131 bir keman t\u00fct\u00fcyor”<\/i><\/em> dizeleri, insan\u0131n sistem i\u00e7inde kimlik numaras\u0131na d\u00f6n\u00fc\u015fmesini ve haf\u0131zan\u0131n giderek e\u015fyalara s\u0131\u011f\u0131nmas\u0131n\u0131 anlat\u0131r. Burada ko\u011fu\u015flar, depolar, valizler ve \u00fcniformalar yaln\u0131z mek\u00e2n de\u011fildir; ruh h\u00e2linin ta\u015f\u0131y\u0131c\u0131 simgeleridir.<\/p>\n

\u015eiirin en \u00e7arp\u0131c\u0131 katmanlar\u0131ndan biri \u00e7ocukluk ile sava\u015f\u0131n ayn\u0131 g\u00f6r\u00fcnt\u00fc i\u00e7inde bulu\u015fmas\u0131d\u0131r. “Ay Carmela \/ Ala\u015fehir’de unutulmu\u015f. Yedi ya\u015f\u0131ndayken.”<\/i><\/em> dizeleri, masumiyetin yar\u0131da kalan hik\u00e2yesini anlat\u0131rken, hemen ard\u0131ndan gelen “O g\u00fcnlerde toprak. K\u0131m\u0131ldayam\u0131yordu may\u0131nlardan.”<\/i><\/em> s\u00f6z\u00fc \u00e7ocukluk co\u011frafyas\u0131n\u0131 sava\u015f\u0131n g\u00f6lgesine ta\u015f\u0131r. Muhammet Durmu\u015f, ferd\u00ee haf\u0131zay\u0131 toplum haf\u0131zas\u0131ndan ay\u0131rmaz; biri \u00f6tekinin i\u00e7inde ya\u015famay\u0131 s\u00fcrd\u00fcr\u00fcr.<\/p>\n

D\u00f6rd\u00fcnc\u00fc ve be\u015finci b\u00f6l\u00fcmlerde asker\u00ee komutlar ritmin temel unsuruna d\u00f6n\u00fc\u015f\u00fcr. “\u00c7ek!”, “\u00c7eek!”, “Tuut!”, “\u00dcfle!”, “\u00c7\u00f6k!”, “Kalk!”<\/i><\/em> sesleri e\u011fitim alan\u0131n\u0131n komutlar\u0131 olman\u0131n \u00f6tesine ge\u00e7er; insan \u00f6mr\u00fcn\u00fc y\u00f6nlendiren g\u00f6r\u00fcnmez emirleri \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. Bu ritim i\u00e7inde yer alan “Vietnam yaz\u0131l\u0131 kirli beyaz yata\u011fa sard\u0131\u011f\u0131n \/ Uyuz, bir nevresimdir burada.”<\/i><\/em> dizeleri ise sava\u015f, hastal\u0131k ve g\u00fcndelik hayat\u0131 tek g\u00f6r\u00fcnt\u00fc i\u00e7inde bulu\u015fturur. \u015eair, ac\u0131y\u0131 b\u00fcy\u00fcten uzun a\u00e7\u0131klamalar yerine yo\u011fun imgeler kurmay\u0131 tercih eder.<\/p>\n

\u015eiirin ilerleyen b\u00f6l\u00fcmlerinde zaman\u0131n ak\u0131\u015f\u0131 daha belirgin bi\u00e7imde toplumun haf\u0131zas\u0131na y\u00f6nelir. “Gen\u00e7ler \u00f6l\u00fcr. \u0130htiyarlar kal\u0131r bir ba\u015f\u0131na.”<\/i><\/em> dizesi, b\u00fct\u00fcn \u015fiirin en yal\u0131n ve en g\u00fc\u00e7l\u00fc c\u00fcmlelerinden biri olarak \u00f6ne \u00e7\u0131kar. Ard\u0131ndan gelen “\u00c7ukurova’n\u0131n pamuklar\u0131n\u0131 ok\u015famak i\u00e7in”, “kamuflajl\u0131 rakamlar ranzada binom a\u00e7\u0131l\u0131m\u0131”<\/i><\/em> ve “D\u00f6rd\u00fcnc\u00fc b\u00f6l\u00fck i\u00e7timaya!”<\/i><\/em> dizeleri, Anadolu co\u011frafyas\u0131n\u0131 asker\u00ee d\u00fczenle ayn\u0131 \u015fiir d\u00fczleminde bulu\u015fturur. Tar\u0131m, matematik, askerlik ve g\u00fcndelik hayat birbirine yakla\u015f\u0131r; \u015fiirin \u00e7ok katmanl\u0131 yap\u0131s\u0131 g\u00fc\u00e7 kazan\u0131r.<\/p>\n

Sekizinci ve dokuzuncu b\u00f6l\u00fcmlerde ironi belirginle\u015fir. “Astsubay \u00d6klid”<\/i><\/em> benzetmesi, matemati\u011fi asker\u00ee disiplinle bulu\u015ftururken; “boy-kilo endeksine, ni\u015fanl\u0131lara”<\/i><\/em> uzanan dizeler bireyin b\u00fcrokratik sistem i\u00e7indeki yerine ince bir ele\u015ftiri y\u00f6neltir. Ard\u0131ndan gelen “Lisbon’da heykelt\u0131ra\u015f bir T\u00fcrk k\u0131z\u0131”, “B\u00fct\u00fcn \u0131rmaklara duyurulur.”<\/i><\/em> s\u00f6zleri, \u015fiirin co\u011frafyas\u0131n\u0131 k\u0131\u015flan\u0131n d\u0131\u015f\u0131na ta\u015f\u0131r. \u015eair, bir anda Akdeniz’den Avrupa’ya, Anadolu’dan d\u00fcnyan\u0131n ba\u015fka \u015fehirlerine uzanarak haf\u0131zan\u0131n s\u0131n\u0131r tan\u0131mayan yap\u0131s\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n

Onuncu ve on birinci b\u00f6l\u00fcmler, kitab\u0131n felsef\u00ee damar\u0131n\u0131 yeniden \u00f6ne \u00e7\u0131kar\u0131r. “Nietzsche’nin, Salome’ya d\u00fczd\u00fc\u011f\u00fc maddeleri \u00e7ekiyorum”<\/i><\/em> dizesi, metinler aras\u0131 ili\u015fkiyi g\u00fc\u00e7lendirirken, “Hedonizm, bombalanm\u0131\u015f son s\u0131\u011f\u0131na\u011f\u0131ndan \/ sessiz bir fino olarak \u00e7\u0131k\u0131yor.”<\/i><\/em> s\u00f6z\u00fc \u00e7a\u011fda\u015f insan\u0131n d\u00fc\u015f\u00fcnce d\u00fcnyas\u0131n\u0131 \u00e7arp\u0131c\u0131 bir imgeyle anlat\u0131r. Sonras\u0131nda gelen “B\u00fct\u00fcn belgeler kay\u0131p.”, “Ko\u011fu\u015flar etten iglo.” <\/i><\/em>ve “Zaman, esas duru\u015fta \/ H\u00e2l\u00e2 tanr\u0131y\u0131 beklemektedir.”<\/i><\/em> dizeleri ise kitab\u0131n en g\u00fc\u00e7l\u00fc metaforlar\u0131ndan birini kurar. \u0130glo<\/i><\/em>, d\u0131\u015far\u0131dan koruyan bir yap\u0131 gibi g\u00f6r\u00fcn\u00fcrken, i\u00e7eride donmu\u015f hayatlar\u0131n simgesine d\u00f6n\u00fc\u015f\u00fcr. \u0130nsan, zaman\u0131n ortas\u0131nda bekleyen bir varl\u0131k h\u00e2line gelir.<\/p>\n

\"Marlboro<\/p>\n

\u015eiirin on ikinci b\u00f6l\u00fcm\u00fc, kitab\u0131n soyut doruk noktalar\u0131ndan biridir. “Doktor, Malatya neresidir?”<\/i><\/em> sorusuyla ba\u015flayan b\u00f6l\u00fcm, do\u011frudan 6 \u015eubat depremlerinin a\u00e7t\u0131\u011f\u0131 b\u00fcy\u00fck y\u0131k\u0131m\u0131 \u00e7a\u011fr\u0131\u015ft\u0131r\u0131r. “\u00c7ocuklar\u0131m bulunamam\u0131\u015ft\u0131r.”, “Y\u0131llar\u0131m\u0131 biriktirip ald\u0131\u011f\u0131m ilk evdi \u015fubat.”<\/i><\/em> ve “Pandora’n\u0131n hafriyattan sarkan eline alyans\u0131m\u0131 b\u0131rakt\u0131m.”<\/i><\/em> dizeleri, \u015fahsi ac\u0131y\u0131 ortak haf\u0131zan\u0131n par\u00e7as\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. \u015eair burada a\u011f\u0131t\u0131 b\u00fcy\u00fcten s\u00f6yleyi\u015f yerine, birka\u00e7 g\u00fc\u00e7l\u00fc imgeyle \u00e7ok geni\u015f bir duyguyu g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n

Son iki b\u00f6l\u00fcm ise kitab\u0131n b\u00fct\u00fcn\u00fcne a\u00e7\u0131lan kap\u0131d\u0131r. “Sevgilim seni ald\u0131m bu koca k\u00fcll\u00fc\u011fe getirdim.”, “Mar\u015flara ve karanl\u0131k sabahlara birka\u00e7 soluk b\u0131rakt\u0131k.” <\/i><\/em>dizeleri, b\u00fct\u00fcn yolculu\u011fun ard\u0131ndan sevgiyi yeniden hayat\u0131n merkezine yerle\u015ftirir. Ard\u0131ndan gelen “D\u00f6nelim. Otob\u00fcs duraklar\u0131na, \u00fcst ge\u00e7itlere, kap\u0131 \u00f6nlerine.”<\/i><\/em> \u00e7a\u011fr\u0131s\u0131, \u015fiiri yeniden g\u00fcndelik hayata ta\u015f\u0131r. \u0130lk iki b\u00f6l\u00fcm boyunca par\u00e7alanan \u015fehir, son b\u00f6l\u00fcmde ya\u015fanacak bir yere d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Kapan\u0131\u015fta yer alan “Yorgunlu\u011fa, hastal\u0131\u011fa, uykusuzlu\u011fa \/ Bu \u015fiir bir \u00f6zleme sel\u00e2m durmakt\u0131r.” <\/i><\/em>dizeleri, yaln\u0131z bu \u015fiirin de\u011fil, kitab\u0131n tamam\u0131n\u0131n anahtar c\u00fcmlesi niteli\u011findedir. Ba\u015flang\u0131\u00e7ta duyulan “Haz\u0131r ol!”<\/i><\/em> ve “Rahat!”<\/i><\/em> komutlar\u0131n\u0131n yeniden yinelenmesi ise yolculu\u011fun bitti\u011finden ziyade ba\u015fka bir ba\u015flang\u0131c\u0131n e\u015fi\u011fine gelindi\u011fini hissettirir. B\u00f6ylece \u015fiir kendi sonunu kurarken kitab\u0131n b\u00fct\u00fcn\u00fcne de yeni bir anlam kazand\u0131r\u0131r.<\/p>\n

S\u00fct ve Sigara<\/i><\/em>, Marlboro Sparring Marlboro<\/i><\/em>‘nun poetik zirvesini temsil eden metindir. \u0130lk b\u00f6l\u00fcmde par\u00e7alanan \u015fehir, ikinci b\u00f6l\u00fcmde sorgulanan haf\u0131za, bu son \u015fiirde ortak bir insanl\u0131k tecr\u00fcbesi i\u00e7inde birle\u015fir. Askerlik, sava\u015f, deprem, a\u015fk, \u00e7ocukluk, m\u00fczik, felsefe ve g\u00fcndelik hayat ayn\u0131 \u015fiir \u00f6rg\u00fcs\u00fcnde bulu\u015fur. Muhammet Durmu\u015f, kitab\u0131n son \u015fiirinde \u00f6nceki b\u00f6l\u00fcmlerin b\u00fct\u00fcn izleklerini tek bir potada eriterek okuru hem ge\u00e7mi\u015fe hem de hen\u00fcz y\u00fcr\u00fcnmemi\u015f bir yola do\u011fru u\u011furlar.<\/p>\n

Sonu\u00e7<\/b><\/strong>
\n<\/b><\/strong>
\n<\/b><\/strong>Marlboro Sparring Marlboro, ilk bak\u0131\u015fta birbirinden ba\u011f\u0131ms\u0131z g\u00f6r\u00fcnen \u015fiirlerin bir araya geldi\u011fi bir kitap izlenimi uyand\u0131rsa da okuma ilerledik\u00e7e bu par\u00e7alar\u0131n ortak bir poetik b\u00fct\u00fcnl\u00fck olu\u015fturdu\u011fu g\u00f6r\u00fcl\u00fcr. Szerelmem, Szerelmem, \u0130zle\u011fin K\u00f6r\u00fc<\/i><\/em> ve \u0130glo<\/i><\/em>, \u00fc\u00e7 ayr\u0131 ba\u015fl\u0131k alt\u0131nda toplanm\u0131\u015f \u015fiir k\u00fcmeleri olman\u0131n \u00f6tesinde, insan\u0131n kendini tan\u0131ma \u00e7abas\u0131n\u0131 ad\u0131m ad\u0131m izleyen \u00fc\u00e7 a\u015famal\u0131 bir yolculu\u011fun duraklar\u0131d\u0131r. \u0130lk b\u00f6l\u00fcm, hayat\u0131n k\u0131r\u0131lan y\u00fcz\u00fcn\u00fc g\u00f6r\u00fcn\u00fcr k\u0131lar; ikinci b\u00f6l\u00fcm bu k\u0131r\u0131lman\u0131n k\u00f6kenine y\u00f6nelir; son b\u00f6l\u00fcm ise b\u00fct\u00fcn ya\u015fanm\u0131\u015fl\u0131klar\u0131 tek bir \u015fiirde bir araya getirerek yeni bir y\u00fcr\u00fcy\u00fc\u015f\u00fcn e\u015fi\u011fine ula\u015f\u0131r.<\/p>\n

Muhammet Durmu\u015f’un \u015fiirinde dikkat \u00e7eken en belirgin \u00f6zellik, par\u00e7al\u0131 yap\u0131y\u0131 rastlant\u0131ya b\u0131rakmayan titiz kurgu anlay\u0131\u015f\u0131d\u0131r. \u015eiirler aras\u0131nda dola\u015fan imgeler, nesneler, sesler ve g\u00f6ndermeler kitab\u0131n b\u00fct\u00fcn\u00fcne yay\u0131lan ortak bir s\u00f6z da\u011farc\u0131\u011f\u0131 olu\u015fturur. Bir b\u00f6l\u00fcmde kar\u015f\u0131la\u015f\u0131lan bir ayr\u0131nt\u0131, ba\u015fka bir \u015fiirde yeniden belirir; bir s\u00f6zc\u00fck farkl\u0131 ba\u011flamlarda yeni \u00e7a\u011fr\u0131\u015f\u0131mlar kazan\u0131r. B\u00f6ylece kitap, tek tek \u015fiirlerin toplam\u0131ndan \u00e7ok daha geni\u015f bir \u015fiir evrenine d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

\u015eair, \u015fehir hayat\u0131n\u0131 anlat\u0131rken yaln\u0131z sokaklar\u0131, binalar\u0131 ve kalabal\u0131klar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lmaz; modern insan\u0131n ruh h\u00e2lini de bu mek\u00e2nlar\u0131n i\u00e7ine yerle\u015ftirir. Haf\u0131za, \u00e7ocukluk, askerlik, sava\u015f, g\u00f6\u00e7, deprem, inan\u00e7, a\u015fk, g\u00fcndelik hayat ve \u00f6l\u00fcm ayn\u0131 \u015fiir alan\u0131nda bulu\u015fur. Bu geni\u015f malzeme, g\u00f6steri\u015fli bir bilgi birikimi sergileme amac\u0131 ta\u015f\u0131maz; insan\u0131n ya\u015fad\u0131\u011f\u0131 \u00e7a\u011f\u0131n karma\u015fas\u0131n\u0131 \u015fiirin imk\u00e2nlar\u0131yla yeniden kurar.<\/p>\n

Kitab\u0131n \u00f6nemli ba\u015far\u0131lar\u0131ndan biri de \u00e7a\u011fda\u015f \u015fiirin farkl\u0131 kaynaklar\u0131n\u0131 ortak bir potada eritebilmesidir. Gelenekle modern anlat\u0131m, yerli hayatla k\u00fcresel k\u00fclt\u00fcr, kutsal metinlerle pop\u00fcler g\u00f6ndermeler, asker\u00ee s\u00f6yleyi\u015fle g\u00fcndelik konu\u015fma dili ayn\u0131 \u015fiir \u00f6rg\u00fcs\u00fc i\u00e7inde yan yana durur. Bu birliktelik yapay bir kolaj g\u00f6r\u00fcn\u00fcm\u00fc olu\u015fturmaz; aksine kitab\u0131n ritmini ve sesini belirleyen temel unsurlardan biri h\u00e2line gelir.<\/p>\n

Marlboro Sparring Marlboro<\/i><\/em>, okurundan h\u0131zl\u0131 t\u00fcketilecek bir okuma beklemez. Her \u015fiir, yeniden d\u00f6n\u00fcld\u00fc\u011f\u00fcnde yeni ayr\u0131nt\u0131lar sunan katmanl\u0131 bir yap\u0131 ta\u015f\u0131r. \u0130mgeler ilk okumada b\u0131rakt\u0131klar\u0131 etkinin ard\u0131ndan ba\u015fka anlam alanlar\u0131 a\u00e7ar; g\u00f6ndermeler kitab\u0131n farkl\u0131 b\u00f6l\u00fcmleri aras\u0131nda g\u00f6r\u00fcnmeyen ba\u011flar kurar. Bu y\u00f6n\u00fcyle eser, tamamlanan bir okuma deneyiminden \u00e7ok, her kar\u015f\u0131la\u015fmada geni\u015fleyen bir \u015fiir atlas\u0131 niteli\u011fi kazan\u0131r.<\/p>\n

Muhammet Durmu\u015f, bu kitab\u0131yla ilk eserinden belirgin bi\u00e7imde ayr\u0131lan yeni bir \u015fiir dili kurar. Par\u00e7al\u0131 anlat\u0131m\u0131 kontroll\u00fc bir ritimle birle\u015ftirirken, imgeyi \u015fiirin temel ta\u015f\u0131 h\u00e2line getirir. S\u00f6zc\u00fckler a\u00e7\u0131klayan bir g\u00f6rev \u00fcstlenmek yerine \u00e7a\u011fr\u0131\u015f\u0131m \u00fcretir; sessizlikler de dizeler kadar konu\u015fur. \u015eair, okuru haz\u0131r anlamlarla bulu\u015fturmaktan ziyade \u015fiirin i\u00e7inde aktif bir yol arkada\u015f\u0131na d\u00f6n\u00fc\u015ft\u00fcr\u00fcr.<\/p>\n

Sonu\u00e7 olarak Marlboro Sparring Marlboro, \u00e7a\u011fda\u015f T\u00fcrk \u015fiirinde kendi sesini kurabilmi\u015f dikkat \u00e7ekici eserlerden biri olmaya adayd\u0131r. \u00dc\u00e7 b\u00f6l\u00fcm boyunca ad\u0131m ad\u0131m geli\u015fen poetik yap\u0131, kitab\u0131n son \u015fiiri S\u00fct ve Sigara<\/i><\/em> ile tamamlan\u0131rken, yolculuk sona ermez; yeni bir ba\u015flang\u0131c\u0131n kap\u0131s\u0131 aralan\u0131r. Belki de kitab\u0131n en g\u00fc\u00e7l\u00fc y\u00f6n\u00fc tam burada ortaya \u00e7\u0131kar. Muhammet Durmu\u015f, \u015fiiri biten bir s\u00f6z olarak kurmaz; okurun zihninde ya\u015famay\u0131 s\u00fcrd\u00fcren uzun bir y\u00fcr\u00fcy\u00fc\u015fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Kitap kapand\u0131\u011f\u0131nda dizeler susar; imgeler, sesler ve \u00e7a\u011fr\u0131\u015f\u0131mlar ise okurun haf\u0131zas\u0131nda yol almaya devam eder.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u00c7a\u011fda\u015f T\u00fcrk \u015fiiri, son y\u0131llarda anlat\u0131m imk\u00e2nlar\u0131n\u0131 geni\u015fleten, \u015fiir dilini yeni aray\u0131\u015flarla zenginle\u015ftiren eserlerle dikkat…<\/p>\n","protected":false},"author":56,"featured_media":4763,"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":[310],"class_list":["post-4762","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap"],"yoast_head":"\nMuhammet Durmu\u015f'un Marlboro Sparring Marlboro Kitab\u0131 \u00dczerine - 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\/08\/02\/muhammet-durmusun-marlboro-sparring-marlboro-kitabi-uzerine\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Muhammet Durmu\u015f'un Marlboro Sparring Marlboro Kitab\u0131 \u00dczerine - 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Anadolu \u00dcniversitesi \u0130\u015fletme Fak\u00fcltesi ile Medya ve \u0130leti\u015fim B\u00f6l\u00fcm\u00fcnden mezun olan I\u015f\u0131k, yazarl\u0131k kariyerine \u201cSiyaset ve D\u00fc\u015f\u00fcnce\u201d adl\u0131 internet sitesinde k\u00f6\u015fe yazar\u0131 olarak ba\u015flad\u0131. Farkl\u0131 platformlarda fikirlerini payla\u015fmaya devam eden yazar, Fikri Kadim, Mimoza Haber, Nokta32, Akdeniz Haber, Ger\u00e7ek Tarih ve \u0130ttifak Gazetesi gibi mecralarda k\u00f6\u015fe yaz\u0131lar\u0131 yay\u0131mlad\u0131. Ayn\u0131 zamanda Ger\u00e7ek Tarih dergisinin yay\u0131n koordinat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlenerek, dergi yay\u0131nc\u0131l\u0131\u011f\u0131 alan\u0131nda da katk\u0131lar sundu. 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I\u015eIK","author_link":"https:\/\/simurgedebiyat.com\/index.php\/author\/muhammed-isik\/"},"uagb_comment_info":0,"uagb_excerpt":"\u00c7a\u011fda\u015f T\u00fcrk \u015fiiri, son y\u0131llarda anlat\u0131m imk\u00e2nlar\u0131n\u0131 geni\u015fleten, \u015fiir dilini yeni aray\u0131\u015flarla zenginle\u015ftiren eserlerle dikkat...","authors":[{"term_id":310,"user_id":56,"is_guest":0,"slug":"muhammed-isik","display_name":"Muhammed I\u015eIK","avatar_url":{"url":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/02\/Muhammed1.jpg","url2x":"https:\/\/simurgedebiyat.com\/wp-content\/uploads\/2026\/02\/Muhammed1.jpg"},"first_name":"","last_name":"","user_url":"","job_title":"","description":"1986 y\u0131l\u0131nda Ankara\u2019n\u0131n \u00c7aml\u0131dere il\u00e7esinde do\u011fan Muhammed I\u015f\u0131k, orta\u00f6\u011frenimini Ankara\u2019da tamamlad\u0131. Anadolu \u00dcniversitesi \u0130\u015fletme Fak\u00fcltesi ile Medya ve \u0130leti\u015fim B\u00f6l\u00fcm\u00fcnden mezun olan I\u015f\u0131k, yazarl\u0131k kariyerine \u201cSiyaset ve D\u00fc\u015f\u00fcnce\u201d adl\u0131 internet sitesinde k\u00f6\u015fe yazar\u0131 olarak ba\u015flad\u0131. Farkl\u0131 platformlarda fikirlerini payla\u015fmaya devam eden yazar, Fikri Kadim, Mimoza Haber, Nokta32, Akdeniz Haber, Ger\u00e7ek Tarih ve \u0130ttifak Gazetesi gibi mecralarda k\u00f6\u015fe yaz\u0131lar\u0131 yay\u0131mlad\u0131. Ayn\u0131 zamanda Ger\u00e7ek Tarih dergisinin yay\u0131n koordinat\u00f6rl\u00fc\u011f\u00fcn\u00fc \u00fcstlenerek, dergi yay\u0131nc\u0131l\u0131\u011f\u0131 alan\u0131nda da katk\u0131lar sundu. T\u00fcrkiye Yazarlar Birli\u011fi Ankara \u015eubesi Y\u00f6netim Kurulu \u00dcyesi olarak da k\u00fclt\u00fcrel ve edeb\u00ee faaliyetlere katk\u0131da bulundu.\r\n\r\n2016-2024 y\u0131llar\u0131 aras\u0131nda Sahipk\u0131ran Stratejik Ara\u015ft\u0131rmalar Merkezinde (SASAM) Genel Sekreterlik g\u00f6revini y\u00fcr\u00fcten Muhammed I\u015f\u0131k, halen Haber Ajanda ve K\u00fclt\u00fcr Ajanda dergilerinde yazmaktad\u0131r. Aral\u0131k 2018\u2019den bu yana dikGAZETE.com yazar\u0131d\u0131r. Evli ve iki erkek \u00e7ocuk babas\u0131d\u0131r.\r\n\r\nEdeb\u00ee \u00fcretkenli\u011fiyle dikkat \u00e7eken Muhammed I\u015f\u0131k, \u015fu eserlerin yazar\u0131d\u0131r:\r\n\r\n\u2060G\u00f6n\u00fclden Dima\u011fa (2019), Ak\u0131ldan Kalbe Esintiler (2022), \u2060T\u00fcrk Tipi Ba\u015fkanl\u0131k Sistemi (2022), Bozuk Sat\u0131h (2022), Eyvah Cumhurba\u015fkan\u0131 Oldum (2023, Abdurahim Zarars\u0131z ile birlikte), \u2060G\u00f6n\u00fcl S\u0131z\u0131s\u0131 (2025), Ferdi Tayfur Plaklardaki Derbeder Kral (2025)."}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4762","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\/56"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4762"}],"version-history":[{"count":1,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4762\/revisions"}],"predecessor-version":[{"id":4764,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4762\/revisions\/4764"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4763"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4762"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4762"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4762"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4762"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}