{"id":4864,"date":"2026-09-01T14:56:53","date_gmt":"2026-09-01T11:56:53","guid":{"rendered":"https:\/\/simurgedebiyat.com\/?p=4864"},"modified":"2026-09-01T15:35:17","modified_gmt":"2026-09-01T12:35:17","slug":"ahmet-sezgin-ve-kar-renkli-cocuklugum-anadolu-hafizasinin-icten-bir-yankisi","status":"publish","type":"post","link":"https:\/\/simurgedebiyat.com\/index.php\/2026\/09\/01\/ahmet-sezgin-ve-kar-renkli-cocuklugum-anadolu-hafizasinin-icten-bir-yankisi\/","title":{"rendered":"Ahmet SEZG\u0130N Ve Kar Renkli \u00c7ocuklu\u011fum: Anadolu Haf\u0131zas\u0131n\u0131n \u0130\u00e7ten Bir Yank\u0131s\u0131"},"content":{"rendered":"

1966 y\u0131l\u0131n\u0131n zemherisinde, Samsun\u2019un Terme il\u00e7esindeki Ba\u011fsaray k\u00f6y\u00fcnde, karl\u0131 bir k\u0131\u015f gecesinde ilk nefesi ci\u011ferlerine \u00e7eken Ahmet Sezgin; ilk gen\u00e7li\u011finden itibaren bir \u201cAnadolu\u201d ku\u015fu olmu\u015f, farkl\u0131 t\u00fcr ve eserlerle bize, bizi o hep kendine has sesiyle \u015fak\u0131maya ba\u015flam\u0131\u015ft\u0131r.<\/p>\n

\u0130lk ve orta\u00f6\u011frenimini Terme\u2019de tamamlayan Sezgin, 1988 y\u0131l\u0131nda Samsun Ondokuz May\u0131s \u00dcniversitesi T\u00fcrk Dili ve Edebiyat\u0131 b\u00f6l\u00fcm\u00fcnden mezun olduktan sonra bu milli, manevi \u015fak\u0131y\u0131\u015fa ilm\u00ee bir y\u00f6n vermi\u015f; \u201cHakk\u201d\u0131n ulv\u00ee duvar\u0131na yaslanarak y\u0131llar i\u00e7inde ortaya koydu\u011fu \u015fiirden denemeye, hat\u0131radan biyografiye, incelemeden antolojiye pek \u00e7ok yaz\u0131 ve eserle ad\u0131ndan s\u00f6z ettirmesini bilmi\u015ftir. \u00d6yle ki Sezgin, 2024 y\u0131l\u0131n\u0131n son aylar\u0131nda yay\u0131nlad\u0131\u011f\u0131 \u201cKar Renkli \u00c7ocuklu\u011fum\u201d adl\u0131 hat\u0131ra kitab\u0131yla hemen taltif edilmi\u015f ve T\u00fcrkiye Yazarlar Birli\u011fi taraf\u0131ndan  -bu alanda- y\u0131l\u0131n yazar\u0131 se\u00e7ilmi\u015ftir. Biz de bu yaz\u0131m\u0131zda Ahmet Sezgin\u2019in Kar Renkli \u00c7ocuklu\u011fum adl\u0131 kitab\u0131n\u0131 inceleyecek ve bu eserde g\u00f6rd\u00fc\u011f\u00fcm\u00fcz \u201cbizim k\u00f6y\u201d olgusundan yola \u00e7\u0131karak edebiyat\u0131m\u0131zda k\u00f6y\u00fc anlatma gelene\u011finin izlerini s\u00fcrmeye \u00e7al\u0131\u015faca\u011f\u0131z.<\/p>\n

\"Samsun<\/p>\n

 Gelenekten \u015eimdiye: K\u00f6y\u00fcn Edebiyat\u0131m\u0131zdaki \u0130zleri<\/strong><\/p>\n

Bilindi\u011fi gibi T\u00fcrk edebiyat\u0131 tarihinde anlat\u0131 gelene\u011finin binlerce y\u0131ll\u0131k bir ge\u00e7mi\u015fi vard\u0131r. Destandan masala, halk hik\u00e2yecili\u011finden efsanelere, menk\u0131belerden mesnevilere kadar y\u00fczy\u0131llar i\u00e7inde \u015fekil, \u00fcslup ve muhteva de\u011fi\u015fikli\u011fiyle g\u00fcn\u00fcm\u00fcze kadar ula\u015fm\u0131\u015f bu anlat\u0131 gelene\u011fi; 1860\u2019lardan itibaren farkl\u0131 bir y\u00f6ne evrilmi\u015ftir. Gazetenin yay\u0131n hayat\u0131m\u0131za girmesiyle birlikte makale, f\u0131kra gibi \u00f6\u011fretici t\u00fcrlerin yan\u0131nda roman ve hik\u00e2ye gibi edebi t\u00fcrler de bu mecrada kendine yer bulabilmi\u015f, tefrika halinde bile olsa bu \u201canlatma\u201d okuyucuyla bulu\u015fabilmi\u015ftir.<\/p>\n

Bu edebi t\u00fcrlerde genel olarak mek\u00e2n \u0130stanbul olsa da Ahmet Mithat Efendi \u201cBahtiyarl\u0131k\u201d adl\u0131 eseriyle kahramanlar\u0131n\u0131 ilk kez \u0130stanbul d\u0131\u015f\u0131na \u00e7\u0131kararak k\u0131rsal ya\u015fam\u0131n bakir g\u00fczelli\u011fine bak\u0131\u015f atm\u0131\u015ft\u0131r. Yine ilk k\u00f6y roman\u0131 kabul edilen \u201cKarabibik\u201dle Nabizade Naz\u0131m, bu d\u00f6nemde topra\u011f\u0131n ve m\u00fclkiyetin ger\u00e7ek\u00e7i bir tasvirini yapm\u0131\u015ft\u0131r. Ebubekir Haz\u0131m Tepeyran ise \u201cK\u00fc\u00e7\u00fck Pa\u015fa\u201d eseriyle k\u00f6y hayat\u0131n\u0131 bir \u00e7ocu\u011fun g\u00f6z\u00fcyle toplumsal bir sorguya d\u00f6n\u00fc\u015ft\u00fcrerek belki de ilk kez hakiki anlamda bir \u201ck\u00f6y roman\u0131\u201d yazm\u0131\u015ft\u0131r.<\/p>\n

Bu \u201c\u00f6z\u201de at\u0131lan ilk nazarlardan sonra t\u00fcrl\u00fc sebepten ak\u0131\u015f sekteye u\u011frasa da 1930\u2019larla birlikte Sadri Ertem ve Sabahattin Ali\u2019nin elinde \u201ck\u00f6y\u201d yeni hik\u00e2yelere d\u00f6n\u00fc\u015fmeye ba\u015flam\u0131\u015ft\u0131r. 1940\u2019larla birlikte Kemal Tahir\u2019in kaleminde \u201cdo\u011fal hayat vadeden pastoral bir mek\u00e2n\u201d olmaktan \u00e7\u0131kan \u201ck\u00f6y\u201d tarih boyunca devletin a\u011f\u0131rl\u0131\u011f\u0131n\u0131 ta\u015f\u0131m\u0131\u015f, kendi i\u00e7 dengelerine g\u00f6re ayakta duran, d\u0131\u015far\u0131dan gelen her m\u00fcdahaleyi ku\u015fkuyla kar\u015f\u0131layan bir toplumsal yap\u0131 olarak kar\u015f\u0131m\u0131za \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n

1950\u2019lerden sonra ise Mahmut Makal\u2019\u0131n tan\u0131kl\u0131klar\u0131, Fakir Baykurt\u2019un i\u00e7inden \u00e7\u0131kt\u0131\u011f\u0131 k\u00f6ye bakan toplumcu ger\u00e7ek\u00e7i \u00e7izgisi, Talip Apayd\u0131n ve Samim Kocag\u00f6z\u2019\u00fcn g\u00f6zlemleri k\u00f6y\u00fc yaln\u0131zca co\u011frafi bir mek\u00e2n de\u011fil, \u201ctoplumsal vicdan\u0131n aynas\u0131\u201d h\u00e2line getirmi\u015ftir. Ancak bu uzun zincirin dikkat \u00e7eken bir \u00f6zelli\u011fi vard\u0131r: Eserlerin \u00e7o\u011funda k\u00f6y, ya toplumsal bir sorun ya ekonomik bir d\u00fcnyan\u0131n \u00e7at\u0131\u015fma alan\u0131 ya da ideolojik bir tart\u0131\u015fma mek\u00e2n\u0131 olarak g\u00f6r\u00fcn\u00fcr. Ahmet Sezgin’in Kar Renkli \u00c7ocuklu\u011fum kitab\u0131 ise bu noktada gelene\u011fin i\u00e7indeki sessiz bir k\u0131r\u0131lmaya i\u015faret eder.<\/p>\n

\"Ertan<\/p>\n

 <\/p>\n

Kar Renkli \u00c7ocuklu\u011fum: K\u00f6y\u00fc Yeniden, \u0130\u00e7eriden Kurmak<\/strong><\/p>\n

Kar Renkli \u00c7ocuklu\u011fum\u2019u bu sayd\u0131\u011f\u0131m\u0131z k\u00f6y anlat\u0131lar\u0131yla yan yana getiren \u015fey, aktar\u0131lan d\u00fcnyan\u0131n mek\u00e2nsal ve k\u00fclt\u00fcrel benzerlikleridir. Fakat onu di\u011ferlerinden ay\u0131ran, k\u00f6y\u00fc bir toplumsal tez ya da toplumsal sanc\u0131 \u00fczerinden de\u011fil, ki\u015fisel haf\u0131zan\u0131n olu\u015fum mek\u00e2n\u0131 olarak romantik bir \u015fekilde yeniden kurmas\u0131d\u0131r. Buradaki k\u00f6y, ne ideolojik bir dertle\u015fmenin sahnesi ne de toplumsal bir deneyin malzemesidir. Sezgin\u2019in \u201ck\u00f6y\u00fc\u201d bir \u00e7ocu\u011fun y\u00fcr\u00fcy\u00fc\u015f\u00fc kadar masum, bir annenin dokunu\u015fu kadar s\u0131cak, karl\u0131 bir k\u0131\u015f gecesi kadar durudur.<\/p>\n

Ahmet Sezgin, hat\u0131rat\u0131nda k\u00f6y\u00fc \u00e7\u00f6zmeyi de\u011fil, k\u00f6yde kendini bulmay\u0131 ya da yeniden \u201corada\u201d olmay\u0131 ister. Bu bak\u0131mdan eser, k\u00f6y anlat\u0131 gelene\u011finin tam kalbine ba\u011fl\u0131 ama ondan tamamen farkl\u0131 bir damar a\u00e7ar: K\u00f6y\u00fcn sosyolojisini de\u011fil, ruhunu anlatmak ve bu ruhu ya\u015fayarak ya\u015fatmak.<\/p>\n

\u201cYa\u015fama ve ya\u015fatma\u201d \u00fczerine kurulu bu hat\u0131ra t\u00fcr\u00fcn\u00fcn kendine \u00f6zg\u00fc mahrem r\u00fczg\u00e2r\u0131, Sezgin\u2019in \u00fcslubuyla birle\u015fince k\u00f6y; d\u0131\u015f d\u00fcnyan\u0131n sorunlar\u0131ndan ar\u0131narak ki\u015fisel haf\u0131zan\u0131n s\u0131cak bir yuvas\u0131na d\u00f6n\u00fc\u015f\u00fcr. B\u00f6ylece eserde ge\u00e7en her \u00e7ocukluk sahnesi, k\u00f6y\u00fcn toplumsal bir birim olmaktan \u00e7ok bir \u201cduygu mek\u00e2n\u0131\u201d oldu\u011funu hissettirir.<\/p>\n

Kar renkli \u00c7ocuklu\u011fum bu niteli\u011fiyle k\u00f6y anlat\u0131s\u0131 gelene\u011finin g\u00fc\u00e7l\u00fc miras\u0131na yaslan\u0131r fakat ayn\u0131 zamanda onu a\u015far, d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Ki\u015fisel haf\u0131za ile edeb\u00ee anlat\u0131n\u0131n kesi\u015fti\u011fi yeni bir alan kurar. Bu bak\u0131mdan Kar Renkli \u00c7ocuklu\u011fum, k\u00f6y anlat\u0131s\u0131n\u0131 d\u0131\u015far\u0131dan de\u011fil i\u00e7eriden, yukar\u0131dan de\u011fil derinden veren nadir metinlerdendir.<\/p>\n

Gelene\u011fin Son Halkas\u0131 yahut Bir Gedi\u011fi Kapatmak<\/strong><\/p>\n

T\u00fcrk edebiyat\u0131nda k\u00f6y hik\u00e2yeleri, \u00f6zellikle 1980 sonras\u0131nda yava\u015f yava\u015f silikle\u015fmi\u015f; kentle\u015fme, g\u00f6\u00e7, kimlik meseleleri ba\u015fka t\u00fcrden anlat\u0131lar\u0131n \u00f6n\u00fcn\u00fc a\u00e7m\u0131\u015ft\u0131r. Bu d\u00f6nemde k\u00f6y\u00fc anlatmak art\u0131k eski anlam\u0131n\u0131 yitirmi\u015f; modern okur, k\u00f6y\u00fc bir \u201csosyal laboratuvar\u201d gibi g\u00f6ren \u201cBizim K\u00f6y\u201dvari metinlerden uzakla\u015fm\u0131\u015ft\u0131r.<\/p>\n

Bu nedenle Kar Renkli \u00c7ocuklu\u011fum, tam da bu bo\u015flukta \u00f6nemli bir yer tutar. Di\u011ferleri gibi bir \u201ck\u00f6y anlat\u0131s\u0131\u201d olsa da \u00e7ocukluk an\u0131lar\u0131yla okuyucuyu samimiyetiyle \u00e7epe\u00e7evre saran bu eser, bizi 1970\u2019lerin T\u00fcrkiye\u2019sinde hemen her b\u00f6lgemizde kar\u015f\u0131la\u015faca\u011f\u0131m\u0131z \u201ck\u00f6y\u201de g\u00f6t\u00fcr\u00fcr.<\/p>\n

Sezgin\u2019in anlat\u0131s\u0131, k\u00f6y romanlar\u0131n\u0131n b\u0131rakt\u0131\u011f\u0131 b\u00fcy\u00fck miras\u0131 yeniden insan\u0131n i\u00e7 d\u00fcnyas\u0131na ta\u015f\u0131r. Eser bizce gelene\u011fin son \u00f6rne\u011fi, son nefesi gibi dururken asl\u0131nda yeni bir yola i\u015faret eder: K\u00f6y sorunlar\u0131n de\u011fil, insan\u0131n \u00f6z\u00fcne bak\u0131\u015f\u0131n\u0131n mek\u00e2n\u0131d\u0131r.<\/p>\n

Bu y\u00f6n\u00fcyle Kar Renkli \u00c7ocuklu\u011fum, Sezgin\u2019in ki\u015fisel haf\u0131zas\u0131yla T\u00fcrk edebiyat\u0131 aras\u0131ndaki zarif k\u00f6pr\u00fcd\u00fcr. K\u00f6y anlat\u0131 gelene\u011finin kapanan defterinin \u00fczerine d\u00fc\u015fm\u00fc\u015f kar gibi sessiz ama eriyip kalbe kar\u0131\u015ft\u0131\u011f\u0131nda derin izler b\u0131rakan bir eserdir.<\/p>\n

\"Ahmet<\/p>\n

Sonu\u00e7 Yerine: K\u00f6y\u00fcn Sessiz Tan\u0131\u011f\u0131<\/strong><\/p>\n

Ahmet Sezgin\u2019in hayat\u0131; \u00f6\u011fretmenli\u011fin, ruh\u00ee yolculuklar\u0131n, kar\u015f\u0131la\u015fmalar\u0131n ve tabii mill\u00ee-manev\u00ee de\u011ferlerimize yaslanan edeb\u00ee bir sava\u015f\u0131n hik\u00e2yesidir. Eserleriyle ve ya\u015fant\u0131s\u0131yla adeta bize her h\u00e2l ve \u015fartta \u201cHakk\u2019\u0131 tutar kald\u0131r\u0131r\u0131m!\u201d diye seslenen Sezgin, bu son eseri Kar Renkli \u00c7ocuklu\u011fum\u2019la sanat\u0131 \u00fczerine yeni bir ipucu verir: Bat\u0131l\u0131n kar\u015f\u0131s\u0131na Z\u00fclkarneyn\u2019in setti gibi dikti\u011fi yar\u0131m asra yakla\u015fan sanat\u0131n\u0131n beslendi\u011fi kaynak, T\u00fcrk\u2019\u00fcn g\u00f6zesi k\u00f6ylerdir.  Ve y\u0131llard\u0131r bu g\u00f6zeye a\u011fz\u0131n\u0131 dayayan Sezgin\u2019in son eseri de bu \u00f6zden kopup gelen samimi dereler, nehirler hatta yer yer \u00e7a\u011flayanlar gibidir.<\/p>\n

Bu ak\u0131\u015f\u0131n sesi, yaln\u0131zca bir \u00e7ocukluk hat\u0131ras\u0131n\u0131 de\u011fil; bu milletin as\u0131rlard\u0131r yaln\u0131zca Hakk\u2019a e\u011filen ba\u015f\u0131n\u0131, topra\u011fa k\u00f6k salan irfan\u0131n\u0131 da ta\u015f\u0131r. Kar Renkli \u00c7ocuklu\u011fum\u2019da Sezgin\u2019in k\u00f6y\u00fc, bir mek\u00e2n olmaktan \u00e7\u0131kar; ezan\u0131yla, ramazan\u0131yla, bayram\u0131yla, oca\u011f\u0131yla, insan\u0131yla bereketiyle, samimiyetiyle vakar ve mahcubiyeti temsil eden bir \u201cf\u0131trat yurdu\u201dna d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n

Okur, bu hat\u0131ralar\u0131n i\u00e7inde gezerken sadece Sezgin\u2019in de\u011fil, T\u00fcrk\u2019\u00fcn temiz mayas\u0131n\u0131n kokusunu duyar. \u00c7\u00fcnk\u00fc k\u00f6y, bu topraklarda her zaman hem vatan\u0131n \u00f6z\u00fc hem de insan\u0131n ilk aynas\u0131 olmu\u015ftur. \u0130\u015fte bu y\u00fczden Sezgin\u2019in eseri, k\u00f6y\u00fcn \u00e7\u0131\u011fl\u0131\u011f\u0131n\u0131 de\u011fil; k\u00f6y\u00fcn duaya benzeyen s\u0131cakl\u0131\u011f\u0131n\u0131, samimiyetini anlat\u0131r. Ve o samimiyet, bize bir kez daha \u015funu hat\u0131rlat\u0131r: K\u00f6k\u00fc Hakk\u2019ta olan s\u00f6z, zamana yenilmez.<\/p>\n

Kar Renkli \u00c7ocuklu\u011fum da i\u015fte bu k\u00f6klere tutunan, milletin kalbine su veren i\u00e7ten ve derin bir hat\u0131rlay\u0131\u015ft\u0131r.<\/p>\n

KAR RENKL\u0130 \u00c7OCUKLU\u011eUM\/<\/strong>AHMET SEZG\u0130N-<\/strong>ATE\u015e YAYINLARI(<\/strong>192s)<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

1966 y\u0131l\u0131n\u0131n zemherisinde, Samsun\u2019un Terme il\u00e7esindeki Ba\u011fsaray k\u00f6y\u00fcnde, karl\u0131 bir k\u0131\u015f gecesinde ilk nefesi ci\u011ferlerine…<\/p>\n","protected":false},"author":61,"featured_media":4865,"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":[523],"class_list":["post-4864","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kitap"],"yoast_head":"\nAhmet SEZG\u0130N Ve Kar Renkli \u00c7ocuklu\u011fum: Anadolu Haf\u0131zas\u0131n\u0131n \u0130\u00e7ten Bir Yank\u0131s\u0131 - 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Ayn\u0131 y\u0131l Atat\u00fcrk \u00dcniversitesinde pedagojik formasyon e\u011fitimini tamamlad\u0131. Daha sonra 2023 y\u0131l\u0131nda Ordu \u00dcniversitesinde y\u00fcksek lisans yapt\u0131. Y\u00fcksek lisans \u00e7al\u0131\u015fmas\u0131n\u0131 Sadri Ertem'in hik\u00e2yelerinde toplumcu ger\u00e7ek\u00e7ilik anlay\u0131\u015f\u0131 \u00fczerine haz\u0131rlad\u0131. \u00dcniversite y\u0131llar\u0131ndan itibaren edeb\u00ee dergi, gazete ve dijital mecralarda yaz\u0131lar\u0131 yay\u0131mlanmaya ba\u015flad\u0131. Bug\u00fcne kadar Bilgi, Kar'a Kalem, Sada, Eksi 25, Hayat KT, Sinada, G\u00fcneysu, G\u00fcfte Edebiyat, \u00c7emenzar, Simurg Edebiyat ve Kitap Haber ba\u015fta olmak \u00fczere bir\u00e7ok dergi, gazete ve internet sitesinde hik\u00e2ye, deneme, makale ve inceleme t\u00fcrlerinde yaz\u0131lar\u0131 yay\u0131mland\u0131. 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Fak\u00fcltesi T\u00fcrk Dili ve Edebiyat\u0131 B\u00f6l\u00fcm\u00fcnden mezun oldu. Ayn\u0131 y\u0131l Atat\u00fcrk \u00dcniversitesinde pedagojik formasyon e\u011fitimini tamamlad\u0131. Daha sonra 2023 y\u0131l\u0131nda Ordu \u00dcniversitesinde y\u00fcksek lisans yapt\u0131. Y\u00fcksek lisans \u00e7al\u0131\u015fmas\u0131n\u0131 Sadri Ertem'in hik\u00e2yelerinde toplumcu ger\u00e7ek\u00e7ilik anlay\u0131\u015f\u0131 \u00fczerine haz\u0131rlad\u0131.\r\n\u00dcniversite y\u0131llar\u0131ndan itibaren edeb\u00ee dergi, gazete ve dijital mecralarda yaz\u0131lar\u0131 yay\u0131mlanmaya ba\u015flad\u0131. Bug\u00fcne kadar Bilgi, Kar'a Kalem, Sada, Eksi 25, Hayat KT, Sinada, G\u00fcneysu, G\u00fcfte Edebiyat, \u00c7emenzar, Simurg Edebiyat ve Kitap Haber ba\u015fta olmak \u00fczere bir\u00e7ok dergi, gazete ve internet sitesinde hik\u00e2ye, deneme, makale ve inceleme t\u00fcrlerinde yaz\u0131lar\u0131 yay\u0131mland\u0131.\r\nMeslek hayat\u0131na 2011 y\u0131l\u0131nda A\u011fr\u0131'n\u0131n Tutak il\u00e7esinde T\u00fcrk dili ve edebiyat\u0131 \u00f6\u011fretmeni olarak ba\u015flad\u0131. Daha sonra \u0130stanbul'da \u00e7e\u015fitli il\u00e7elerde g\u00f6rev yapt\u0131. H\u00e2len Samsun'un Terme il\u00e7esinde T\u00fcrk dili ve edebiyat\u0131 \u00f6\u011fretmeni olarak g\u00f6rev yapmaktad\u0131r.\r\nTarih\u00ee roman ve deneme alan\u0131nda eserler veren yazar\u0131n ilk roman\u0131 Bir Enver Masal\u0131, Ate\u015f Yay\u0131nlar\u0131 taraf\u0131ndan yay\u0131mlanm\u0131\u015ft\u0131r. H\u00e2len tarih, k\u00fclt\u00fcr, mill\u00ee kimlik ve edebiyat eksenindeki \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrmekte; yeni roman ve ara\u015ft\u0131rma projeleri \u00fczerinde \u00e7al\u0131\u015fmaktad\u0131r.\r\nEvli ve iki \u00e7ocuk babas\u0131 olan Onur Emrullah \u015eavl\u0131\u011f, T\u00fcrkiye Yazarlar Birli\u011fi \u00fcyesidir.\r\n"}],"_links":{"self":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4864","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\/61"}],"replies":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/comments?post=4864"}],"version-history":[{"count":1,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4864\/revisions"}],"predecessor-version":[{"id":4866,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/posts\/4864\/revisions\/4866"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media\/4865"}],"wp:attachment":[{"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/media?parent=4864"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/categories?post=4864"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/tags?post=4864"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/simurgedebiyat.com\/index.php\/wp-json\/wp\/v2\/ppma_author?post=4864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}