Gabriel Garc\u00eda M\u00e1rquez\u2019i okurken insan, ger\u00e7ekli\u011fin d\u00fcz bir zemin olmad\u0131\u011f\u0131n\u0131 hisseder. Bir kasaba yaln\u0131zca kasaba olarak kalmaz; \u00f6l\u00fcler ge\u00e7mi\u015fe \u00e7ekilip kaybolmaz; ya\u011fmur sadece g\u00f6kten d\u00fc\u015fen su de\u011fildir. Macondo\u2019da hayat, akl\u0131n al\u0131\u015ft\u0131\u011f\u0131 s\u0131n\u0131rlar\u0131n biraz \u00f6tesine ta\u015far. Fakat bu ta\u015fma, ger\u00e7eklikten ka\u00e7\u0131\u015f de\u011fildir. M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ili\u011fi, ger\u00e7e\u011fi s\u00fcslemekten \u00e7ok, onun g\u00f6r\u00fcnmeyen damarlar\u0131n\u0131 a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r.<\/p>\n
M\u00e1rquez, 1927\u2019de Kolombiya\u2019n\u0131n Aracataca kasabas\u0131nda do\u011fdu. 1982\u2019de Nobel Edebiyat \u00d6d\u00fcl\u00fc\u2019n\u00fc ald\u0131. Romanlar\u0131nda ve \u00f6yk\u00fclerinde fantastik olanla g\u00fcndelik hayat yan yana y\u00fcr\u00fcr; Latin Amerika\u2019n\u0131n tarihi, yoksullu\u011fu, \u015fiddeti, aile haf\u0131zas\u0131 ve politik yaralar\u0131 masals\u0131 bir anlat\u0131n\u0131n i\u00e7inde belirir. Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/em> ise bu d\u00fcnyan\u0131n en g\u00fc\u00e7l\u00fc kap\u0131lar\u0131ndan biridir.<\/p>\n Panlektik bak\u0131\u015f i\u00e7in M\u00e1rquez\u2019in evreni g\u00fc\u00e7l\u00fc bir \u00f6rnek sunar. \u00c7\u00fcnk\u00fc Panlektik d\u00fc\u015f\u00fcnce hakikati tek katmanl\u0131 bir a\u00e7\u0131klamaya indirgemez. Bir olay\u0131n g\u00f6r\u00fcnen y\u00fcz\u00fc vard\u0131r; bir de onun tarihle, haf\u0131zayla, korkuyla, aileyle, toplumla ve kader duygusuyla ba\u011fland\u0131\u011f\u0131 daha derin bir alan. M\u00e1rquez\u2019in romanlar\u0131nda da ger\u00e7eklik b\u00f6yle i\u015fler. Bir karakterin ba\u015f\u0131na gelen \u015fey yaln\u0131zca ki\u015fisel bir olay de\u011fildir; atalar\u0131n suskunlu\u011fu, \u00fclkenin yaras\u0131 ve ailenin tekrar eden kaderiyle birlikte okunur.<\/p>\n Macondo bu y\u00fczden s\u0131radan bir mek\u00e2n olmaktan \u00e7\u0131kar. Oras\u0131 bir kasaba oldu\u011fu kadar, insan haf\u0131zas\u0131n\u0131n da haritas\u0131d\u0131r. Bir aile b\u00fcy\u00fcr, \u00e7o\u011fal\u0131r, unutmaya \u00e7al\u0131\u015f\u0131r, ayn\u0131 hatalar\u0131 ba\u015fka isimlerle yeniden ya\u015far. Panlektik dilde s\u00f6ylersek, Macondo bir d\u00fc\u011f\u00fcm gibidir. Ona temas eden her olay yeni bir ba\u011flam a\u00e7ar. Bir do\u011fum, bir a\u015fk, bir sava\u015f, bir \u00f6l\u00fcm ya da y\u0131llarca s\u00fcren ya\u011fmur; hepsi ayn\u0131 b\u00fcy\u00fck anlam \u00f6rg\u00fcs\u00fcn\u00fcn i\u00e7inde titre\u015fir.<\/p>\n Macondo\u2019yu bir Panlektik d\u00fc\u011f\u00fcm olarak okumak, M\u00e1rquez\u2019in d\u00fcnyas\u0131na daha derin bir kap\u0131 aralar. \u00c7\u00fcnk\u00fc d\u00fc\u011f\u00fcm, yaln\u0131zca olaylar\u0131n topland\u0131\u011f\u0131 yer de\u011fildir; anlam\u0131n yo\u011funla\u015ft\u0131\u011f\u0131 noktad\u0131r. Macondo\u2019ya gelen her insan, her haber, her felaket ve her mucize kasaban\u0131n i\u00e7indeki eski tortuya dokunur. B\u00f6ylece kasaba pasif bir sahne olmaktan \u00e7\u0131kar; haf\u0131zay\u0131 tutan, kaderi s\u0131k\u0131\u015ft\u0131ran ve insan\u0131 kendi tekrarlar\u0131yla y\u00fczle\u015ftiren canl\u0131 bir alana d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ili\u011fi, Panlektik d\u00fc\u015f\u00fcncedeki n\u00fcve fikrine de yakla\u015f\u0131r. N\u00fcve, k\u00fc\u00e7\u00fck g\u00f6r\u00fcnen ama do\u011fru d\u00fc\u011f\u00fcme temas etti\u011finde b\u00fcy\u00fck bir anlam alan\u0131 a\u00e7an k\u0131v\u0131lc\u0131md\u0131r. Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/em>ta bir \u00e7ocu\u011fun merak\u0131, bir kad\u0131n\u0131n sessizli\u011fi, bir ailenin unutulmu\u015f hatas\u0131 ya da bir kasaban\u0131n \u00fczerine \u00e7\u00f6ken tuhaf hava b\u00f6yle \u00e7al\u0131\u015f\u0131r. \u0130lk bak\u0131\u015fta masals\u0131 g\u00f6r\u00fcnen ayr\u0131nt\u0131, asl\u0131nda ger\u00e7e\u011fin daha derin tabakas\u0131n\u0131 uyand\u0131r\u0131r.<\/p>\n Burada b\u00fcy\u00fc, akl\u0131n kar\u015f\u0131s\u0131na dikilen bir sis de\u011fildir. Akl\u0131n tek ba\u015f\u0131na g\u00f6rmekte zorland\u0131\u011f\u0131 alan\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lar. Modern insan \u00e7o\u011fu zaman ger\u00e7e\u011fi \u00f6l\u00e7\u00fclebilir olana daralt\u0131r. M\u00e1rquez ise ba\u015fka bir \u015feyi sezdirir: Baz\u0131 ger\u00e7ekler yaln\u0131zca belgelerde, tarihlerde, resmi anlat\u0131larda bulunmaz. Halk\u0131n dilinde, dedikoduda, r\u00fcyada, aile hik\u00e2yesinde, bast\u0131r\u0131lm\u0131\u015f ac\u0131da ve ku\u015faktan ku\u015fa\u011fa aktar\u0131lan suskunlukta da ger\u00e7ek vard\u0131r.<\/p>\n Panlektik a\u00e7\u0131dan haf\u0131za, unutma ve tekrar meselesi burada \u00f6nem kazan\u0131r. \u0130nsan bir ac\u0131y\u0131 unuttu\u011funu sanabilir; fakat unutulan \u015fey \u00e7o\u011fu zaman yok olmaz, yaln\u0131zca bi\u00e7im de\u011fi\u015ftirir. M\u00e1rquez\u2019in ki\u015filerinde ve ailelerinde bu d\u00f6n\u00fc\u015f s\u0131k g\u00f6r\u00fcl\u00fcr. Eski bir hata ba\u015fka bir ku\u015fakta yeniden belirir. Bast\u0131r\u0131lan bir korku ba\u015fka bir isimle geri gelir. Panlektik sarmal da tam bu noktada devreye girer: Zaman ayn\u0131 yere d\u00f6n\u00fcyor gibi g\u00f6r\u00fcn\u00fcr, fakat her d\u00f6n\u00fc\u015fte yeni bir katman a\u00e7\u0131l\u0131r.<\/p>\n M\u00e1rquez\u2019in anlat\u0131lar\u0131nda tarih d\u00fcz bir \u00e7izgi gibi ilerlemez. D\u00f6ner, k\u0131r\u0131l\u0131r, kendi \u00fczerine katlan\u0131r. \u0130nsanlar ge\u00e7mi\u015ften ka\u00e7t\u0131klar\u0131n\u0131 san\u0131rken, ge\u00e7mi\u015f ba\u015fka bir y\u00fczle geri gelir. Bu d\u00f6n\u00fc\u015f basit tekrar de\u011fildir. Her ku\u015fak eski yaray\u0131 yeniden ta\u015f\u0131r; yara her defas\u0131nda ba\u015fka bir beden, ba\u015fka bir hik\u00e2ye ve ba\u015fka bir suskunluk bulur. Macondo\u2019nun trajedisi de biraz buradad\u0131r: \u0130nsanlar ya\u015fad\u0131klar\u0131n\u0131 hat\u0131rlamazsa, kader sand\u0131klar\u0131 \u015fey tekrar\u0131n kendisine d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n M\u00e1rquez\u2019in as\u0131l g\u00fcc\u00fc, ola\u011fan\u00fcst\u00fcn\u00fc ola\u011fan bir sesle anlatmas\u0131nda yatar. G\u00f6\u011fe y\u00fckselen bir kad\u0131n, y\u0131llarca s\u00fcren ya\u011fmur, \u00f6l\u00fclerle konu\u015fan insanlar ya da kader gibi i\u015fleyen aile \u00e7izgileri okura ba\u011f\u0131rarak sunulmaz. Anlat\u0131c\u0131 bunlar\u0131 g\u00fcndelik hayat\u0131n bir par\u00e7as\u0131 gibi aktar\u0131r. Bu sakinlik, okuru \u015fa\u015f\u0131rtmaktan \u00e7ok d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Belki de ger\u00e7ek hayat da b\u00f6yledir: En b\u00fcy\u00fck mucizeler ve en a\u011f\u0131r felaketler, \u00e7o\u011fu zaman insanlar\u0131n al\u0131\u015ft\u0131\u011f\u0131 c\u00fcmlelerin i\u00e7inde ya\u015fan\u0131r.<\/p>\n Panlektik d\u00fc\u015f\u00fcnce buradan \u015funu \u00e7\u0131karabilir: Ger\u00e7eklik, yaln\u0131zca g\u00f6r\u00fcnenin toplam\u0131 de\u011fildir. G\u00f6r\u00fcnen, g\u00f6r\u00fcnmeyenin e\u015fi\u011fidir. Bir kasaban\u0131n tarihi bir milletin haf\u0131zas\u0131na; bir ailenin yaln\u0131zl\u0131\u011f\u0131 insanl\u0131\u011f\u0131n varolu\u015fsal yaln\u0131zl\u0131\u011f\u0131na; bir a\u015fk hik\u00e2yesi zaman\u0131n ve \u00f6l\u00fcm\u00fcn kar\u015f\u0131s\u0131nda tutunma \u00e7abas\u0131na a\u00e7\u0131labilir.<\/p>\n M\u00e1rquez ile Panlektik aras\u0131ndaki ba\u011f tam burada belirginle\u015fir. \u0130kisi de anlam\u0131 tek merkezde dondurmaz. \u0130kisi de hayat\u0131 katmanl\u0131 okur. \u0130kisi de insan\u0131n yaln\u0131z ak\u0131lla de\u011fil; haf\u0131za, sezgi, ac\u0131, ritim ve hik\u00e2ye yoluyla da hakikate yakla\u015ft\u0131\u011f\u0131n\u0131 kabul eder.<\/p>\n Gabriel Garc\u00eda M\u00e1rquez, bize d\u00fcnyan\u0131n b\u00fcy\u00fcl\u00fc oldu\u011funu s\u00f6ylemez. Daha incelikli bir \u015fey yapar: D\u00fcnyaya yeterince derinden bak\u0131ld\u0131\u011f\u0131nda, ger\u00e7ekli\u011fin zaten b\u00fcy\u00fcye benzedi\u011fini g\u00f6sterir. Panlektik bak\u0131\u015f da bu kap\u0131dan i\u00e7eri girer. \u00c7\u00fcnk\u00fc hakikat bazen a\u00e7\u0131klaman\u0131n sonunda de\u011fil, bir kasaban\u0131n unutulmu\u015f sokaklar\u0131nda, eski bir aile ad\u0131nda, hi\u00e7 dinmeyen bir ya\u011fmurun sesinde belirir.<\/p>\n","protected":false},"excerpt":{"rendered":" Gabriel Garc\u00eda M\u00e1rquez\u2019i okurken insan, ger\u00e7ekli\u011fin d\u00fcz bir zemin olmad\u0131\u011f\u0131n\u0131 hisseder. Bir kasaba yaln\u0131zca kasaba olarak kalmaz; \u00f6l\u00fcler ge\u00e7mi\u015fe \u00e7ekilip kaybolmaz; ya\u011fmur sadece g\u00f6kten d\u00fc\u015fen su de\u011fildir. Macondo\u2019da hayat, akl\u0131n al\u0131\u015ft\u0131\u011f\u0131 s\u0131n\u0131rlar\u0131n biraz \u00f6tesine ta\u015far. Fakat bu ta\u015fma, ger\u00e7eklikten ka\u00e7\u0131\u015f de\u011fildir. M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ili\u011fi, ger\u00e7e\u011fi s\u00fcslemekten \u00e7ok, onun g\u00f6r\u00fcnmeyen damarlar\u0131n\u0131 a\u00e7\u0131\u011fa \u00e7\u0131kar\u0131r. M\u00e1rquez, 1927\u2019de Kolombiya\u2019n\u0131n […]<\/p>\n","protected":false},"author":1,"featured_media":152,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12],"tags":[],"class_list":["post-151","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-nuveler"],"_links":{"self":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/151","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/comments?post=151"}],"version-history":[{"count":0,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/posts\/151\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media\/152"}],"wp:attachment":[{"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/media?parent=151"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/categories?post=151"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cemalkara.com\/index.php\/wp-json\/wp\/v2\/tags?post=151"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}