![\"\"](\"https:\/\/akunq.net\/tr\/wp-content\/uploads\/2022\/11\/Istanbulu-kaybedisimizin-romani-360x259.webp\")
<\/p>\n<\/p>\n
Kendisi, \u00c7ember Apartman\u0131\u2019n\u0131 \u201c\u0130stanbul\u2019u kaybedi\u015fimizin roman\u0131\u201d olarak kurgularken merkeze 1964 s\u00fcrg\u00fcnleri ve 1986 Tarlaba\u015f\u0131 y\u0131k\u0131mlar\u0131n\u0131 koyuyor. 64 s\u00fcrg\u00fcn\u00fcnde on sekiz bin Yunan vatanda\u015f\u0131 do\u011fduklar\u0131 topraklardan kovulmu\u015f. 90 ya\u015f\u0131nda nineler \u201cvatan haini\u201d diye s\u0131n\u0131r d\u0131\u015f\u0131 edilmi\u015f. Kimine g\u00f6re, \u201cBu \u015fehir o g\u00fcn bitmi\u015f\u201d, kimi kederinden verem olmu\u015f, kimi ise o kovulman\u0131n ard\u0131ndan kuraca\u011f\u0131 her \u015feyin kumdan kaleler gibi y\u0131k\u0131labilece\u011fini fark etmi\u015f.<\/strong><\/em><\/p>\n Menek\u015fe Tokyay<\/strong><\/p>\n Hen\u00fcz d\u00fcn \u00f6n\u00fcnden ge\u00e7ti\u011fin\u00a0as\u0131rl\u0131k \u00e7\u0131nar<\/strong>\u0131n bug\u00fcn kesildi\u011fini g\u00f6r\u00fcyorsun. Hen\u00fcz d\u00fcn leziz mi leziz profiterol yedi\u011fin 212 y\u0131ll\u0131k\u00a0Lebon Pastanesi\u2019<\/strong>nin bug\u00fcn kepenklerini indirdi\u011fine tan\u0131kl\u0131k ediyorsun.<\/p>\n Abd\u00fclhamit\u2019in Hollandal\u0131 terzisi ve \u00fcnl\u00fc modac\u0131 Jean Botter i\u00e7in vaktiyle in\u015fa edilmi\u015f ve y\u0131k\u0131lmaya y\u00fcz tutmu\u015f olan tarihi\u00a0Botter Apartman\u0131\u2019<\/strong>n\u0131n Medusa ba\u015flar\u0131, bitki s\u00fcslemeleri ve geometrik motifleriyle \u0130stiklal Caddesi 235 numarada restore edilmeye ba\u015fland\u0131\u011f\u0131n\u0131 i\u015fitiyorsun.<\/p>\n Haydarpa\u015fa Gar\u0131<\/strong>\u2019ndan, al\u0131\u015fveri\u015f merkezine d\u00f6nen\u00a0Deveaux Apartmanlar\u0131<\/strong>\u2019na, \u201casl\u0131na uygun olarak eski ihti\u015faml\u0131 g\u00fcnlerine d\u00f6nd\u00fc\u011f\u00fc\u201d san\u0131lan\u00a0Narmanl\u0131 Han<\/strong>\u2019a,\u00a0Baylan Pastanesi<\/strong>\u2019ne, giri\u015fi tamamen asmalarla kapl\u0131 ve g\u00f6lgelik\u00a0Cennet \u00c7ay Bah\u00e7esi<\/em>\u2019ne, 169 y\u0131ll\u0131k tarihiyle\u00a0Markiz<\/strong>\u2019in i\u00e7indeki \u015f\u0131k insanlara, Kapal\u0131\u00e7ar\u015f\u0131\u2019da uluslararas\u0131 bir markaya yerini b\u0131rakan tarihi\u00a0\u015eark Kahvesi<\/strong>\u2019ne dek \u015fehirde yitip giden, y\u0131k\u0131lan, yanan, yok olan, yok edilen, modernize edilerek i\u00e7i bo\u015falt\u0131lan veya yeniden in\u015fa edilerek melezle\u015ftirilen toplumsal ve k\u00fclt\u00fcrel bellek mekanlar\u0131n\u0131n ard\u0131ndan derin bir i\u00e7 \u00e7ekiyorsun.<\/p>\n Hakl\u0131s\u0131n da. S\u0131rf romantik bir serzeni\u015f de de\u011fil bu\u2026 \u00c7\u00fcnk\u00fc o yok edilen asl\u0131nda\u00a0senin de belle\u011fin<\/strong>, senin de kente \u201cm\u0131h gibi\u201d ba\u011flanm\u0131\u015f olan aidiyetin, senin de tarihin\u2026 Tarih ile kentsel mekanlar aras\u0131na hoyrat\u00e7a \u00e7ekilen o kal\u0131n m\u0131 kal\u0131n gri mi gri unut(tur)ma perdesinde bellek de a\u015f\u0131n\u0131yor, toplumsal olarak in\u015fa etti\u011fin an\u0131lar\u0131n, ya\u015fam al\u0131\u015fkanl\u0131klar\u0131n, ortak k\u00fclt\u00fcrel kodlar\u0131n da.<\/p>\n Kentin tarihini tamamen unutmaya ve unutturmaya ise kimsenin g\u00fcc\u00fc yetmiyor. \u00c7\u00fcnk\u00fc mutlaka soka\u011fa \u00e7\u0131kt\u0131\u011f\u0131nda bir \u00e7at\u0131 sa\u00e7a\u011f\u0131, bir korni\u015f, binan\u0131n cephesine i\u015flenmi\u015f tozlu bir kabartmadaki Rumca yaz\u0131, unutulmu\u015f bir sokak ismi, Balo Sokak\u2019\u0131n caddeye kavu\u015ftu\u011fu k\u00f6\u015fede bir pencereden y\u00fckselen\u00a0glikoula mou<\/em>\u00a0nidas\u0131, melez bir melodi silik bir hayalet gibi pe\u015finden ilerliyor. Kent maddi bir yap\u0131 de\u011fil; i\u00e7indeki t\u00fcm insan ili\u015fkileri, t\u00fcm k\u00fclt\u00fcrel dokusu ve t\u00fcm ya\u015fam bi\u00e7imiyle ya\u015fayan bir organizma ne de olsa\u2026<\/p>\n Resmi tarihin ortak haf\u0131zadan silmek i\u00e7in \u00e7aba g\u00f6sterdi\u011fi olaylara \u0131\u015f\u0131k tutan romanlar yazan ara\u015ft\u0131rmac\u0131-yazar Defne Suman a\u00e7\u0131s\u0131ndan \u0130stanbullu Rumlar\u0131n\u00a01964 s\u00fcrg\u00fcn\u00fc<\/strong>\u00a0de \u00e7ok uzun zamand\u0131r i\u00e7ini ac\u0131tan bir meseleydi. Bunu da, karantina g\u00fcnlerini arka plan\u0131na alarak kentin ruhuna sinen k\u00fclt\u00fcrel bellek \u00f6rnekleri \u00fczerinden romanla\u015ft\u0131rd\u0131. Annesi ve babas\u0131n\u0131 Sirkeci Tren Gar\u0131\u2019ndan Atina\u2019ya u\u011furlayan, \u201cgeride kalan\u201d bir o\u011flan \u00e7ocu\u011funun g\u00f6z\u00fcnden ge\u00e7mi\u015fe bir ge\u00e7it a\u00e7arak, bellek ile tarih aras\u0131ndaki o gerilimli ili\u015fki \u00fczerinden bellek \u00e7al\u0131\u015fmalar\u0131 yaparak hem de\u2026<\/p>\n Yeni kitab\u0131\u00a0\u00c7ember Apartman\u0131<\/em>\u2019nda \u0130stanbullu Rumlar\u0131n 1900\u2019lerin ortalar\u0131ndan itibaren ba\u015flar\u0131na gelenler ile kentsel belle\u011fin ge\u00e7irdi\u011fi d\u00f6n\u00fc\u015f\u00fcm\u00fc merce\u011fine alan Suman\u2019la 1964 s\u00fcrg\u00fcn\u00fc \u0131\u015f\u0131\u011f\u0131nda kentsel belle\u011fe dair birka\u00e7 g\u00fcn \u00f6nce yapt\u0131\u011f\u0131m s\u00f6yle\u015fide, bu s\u00fcrg\u00fcn\u00fc, \u201cyine bilmedi\u011fimiz, yine resmi tarih taraf\u0131ndan bize unutturulan, \u0130stanbul\u2019da y\u00fcr\u00fcrken g\u00f6rd\u00fc\u011f\u00fcm\u00fcz kan\u0131tlar\u0131na kar\u015f\u0131 k\u00f6rle\u015fti\u011fimiz bir kay\u0131p<\/strong>\u201d olarak nitelendiriyor.<\/p>\n Kendisi, \u00c7ember Apartman\u0131\u2019n\u0131 \u201c\u0130stanbul\u2019u kaybedi\u015fimizin roman\u0131<\/strong>\u201d olarak kurgularken merkeze 1964 s\u00fcrg\u00fcnleri ve 1986 Tarlaba\u015f\u0131 y\u0131k\u0131mlar\u0131n\u0131 koyuyor. \u0130stanbul\u2019u Rum\u2019uyla, T\u00fcrk\u2019\u00fcyle, Ermeni\u2019siyle, Yahudi\u2019siyle, K\u00fcrt\u2019\u00fcyle, hep beraber nas\u0131l kaybetti\u011fimizi, t\u00fcm k\u00fclt\u00fcrel ve tarihi zenginli\u011fimizin avu\u00e7lar\u0131m\u0131z\u0131n aras\u0131ndan kaygan bir sabun gibi nas\u0131l savrulup gitti\u011fini, ba\u015fta \u0130stanbullu Rumlar olmak \u00fczere g\u00fcvenlik hissinin elimizden nas\u0131l ha\u015fince al\u0131nd\u0131\u011f\u0131n\u0131 anlat\u0131yor. Ve geriye s\u0131ra s\u0131ra g\u00f6kdelenler, sahil \u015feridine kurulan AVM\u2019ler, k\u00f6ks\u00fczle\u015ftirilmi\u015f mahallelerle \u201c\u00e7al\u0131 s\u00fcp\u00fcrgesi gibi tutuk\u201d kal\u0131\u015f\u0131m\u0131z\u0131\u2026<\/p>\n Suman\u2019a g\u00f6re, kentsel belle\u011fe dair fiziksel y\u0131k\u0131m o kadar h\u0131zl\u0131 geli\u015fiyor ki bizim \u201ck\u00fc\u00e7\u00fck zaferler<\/strong>\u201d olarak kutlad\u0131\u011f\u0131m\u0131z alternatif tarih okumalar\u0131, ezber bozan yeni s\u00f6ylemlerin benimsenmesi, dilin d\u00f6n\u00fc\u015fmesi (nicedir neredeyse tabu haline gelen \u201cYunanl\u0131lar\u0131 denize d\u00f6kt\u00fck<\/em>\u201d c\u00fcmlesinin ard\u0131ndaki insani trajedilerin sorgulanmas\u0131 veya \u201cfarkl\u0131l\u0131klara ho\u015fg\u00f6r\u00fc\u201d kli\u015fesinin ard\u0131ndaki o \u00fcstenci bak\u0131\u015f\u0131n farkedilmesi gibi) gibi geli\u015fmeler y\u0131k\u0131mlar\u0131n yan\u0131nda kaplumba\u011fa h\u0131z\u0131yla ilerliyor.<\/p>\n Ancak Suman\u2019a g\u00f6re y\u0131k\u0131c\u0131 g\u00fc\u00e7 arkadan kendi milliyet\u00e7i, d\u00fc\u015fman-sever s\u00f6ylemiyle \u00f6yle bir bast\u0131r\u0131yor ki, yine o projeler c\u0131l\u0131z seslerden ibaret kal\u0131yor. Dolay\u0131s\u0131yla,\u00a0sirtaki<\/em>\u2019li, Girit ezmeli,\u00a0rembetika<\/em>\u2019l\u0131 e\u011flence paketleri,\u00a0nostaljik bir e\u011flence bi\u00e7imi<\/strong>\u00a0olarak t\u00fcketiliyor; \u201ciki mahalle\u201d aras\u0131nda otomatik bir duyguda\u015fl\u0131k kurulmas\u0131na yol a\u00e7m\u0131yor.<\/p>\n \u0130ngiliz antropolog Paul Connerton\u2019un 7 farkl\u0131 unutma bi\u00e7iminden biri olarak, \u201cplanl\u0131 eskitme\u201d dedi\u011fi (planned obsolescence<\/em>) unutma\/unutturma bi\u00e7imini yeniden do\u011furuyor.<\/p>\n \u201cAz\u0131nl\u0131klar\u0131n tarih boyunca \u00e7ekti\u011fi \u00e7ileyi tan\u0131yan, onunla y\u00fczle\u015fen ve bu zul\u00fcmde kendi pay\u0131 oldu\u011funu da g\u00f6ren ve \u00f6z\u00fcr dilemeyi ba\u015faran bir kesim mevcut. Ama bu y\u00fczle\u015fme ve \u00f6z\u00fcrler kar\u015f\u0131 k\u0131y\u0131ya ne kadar ula\u015f\u0131yor, k\u00fcsm\u00fc\u015f, g\u00fccenmi\u015f, kutsal kentlerinden kovulmu\u015f \u0130stanbullu Rumlar\u0131n g\u00f6nl\u00fcn\u00fc ne denli al\u0131yor bilmiyorum<\/em>,\u201d diyor.<\/p>\n Bellek k\u0131r\u0131lgand\u0131r, kendini yeniden \u00fcretse de, ideolojik unutturma bi\u00e7imleri sonucu yersizle\u015ftirilmeye ve tektiple\u015ftirilmeye \u00e7al\u0131\u015f\u0131lsa da, yeniden \u015fekillenen g\u00fcndelik ya\u015fam pratikleri i\u00e7inde mutlaka k\u00f6klerinden bir kal\u0131nt\u0131 bulur.<\/p>\n Peki\u00a0bellek nedir<\/strong>?<\/p>\n Marcel Proust\u2019a g\u00f6re; \u201cBir insanla aram\u0131zdaki ba\u011flar sadece zihnimizde mevcuttur. Haf\u0131za zay\u0131flad\u0131k\u00e7a bu ba\u011flar\u0131 gev\u015fetir; kanmak istedi\u011fimiz ve ba\u015fkalar\u0131n\u0131 a\u015fk, dostluk, kibarl\u0131k ad\u0131na, herkes ne der korkusuyla veya g\u00f6rev duygusuyla inand\u0131rd\u0131\u011f\u0131m\u0131z hayale ra\u011fmen, tek ba\u015f\u0131m\u0131za var oluruz.<\/em>\u201d<\/p>\n Ferzan \u00d6zpetek, \u201cHaf\u0131za dijital de\u011fildir, eski bir film \u015feridi gibi d\u00f6ner ve y\u0131pran\u0131r. Ve \u00e7ok sevilen g\u00f6r\u00fcnt\u00fcler yanar<\/em>\u201d der.<\/p>\n Amin Maalouf \u201cKimlik \u00dczerine<\/em>\u201d (On Identity, 2000) adl\u0131 kitab\u0131nda; belle\u011fini, kimli\u011fine dair bir par\u00e7a bulabilmek i\u00e7in \u00f6nce s\u00fcp\u00fcrd\u00fc\u011f\u00fcn\u00fc, ortaya \u00e7\u0131kan par\u00e7alar\u0131 birle\u015ftirip d\u00fczenledi\u011fini ve hepsini ayr\u0131 ayr\u0131 sahiplendi\u011fini anlat\u0131r.<\/p>\n Suman\u2019a g\u00f6re ise, bellek biraz da \u201cunutmak\u201dt\u0131r. Ge\u00e7mi\u015fte k\u0131zl\u0131 erkekli \u00f6zg\u00fcrce y\u00fcr\u00fcnen, pastanelerine, sinemalar\u0131na g\u00fcle oynaya girilen Beyo\u011flu\u2019nun yok oldu\u011funu, tarihi binalardaki mozaiklerinin \u00fczerinin marleyle, eski rab\u0131ta parkelerin ise hal\u0131fleksle kapland\u0131\u011f\u0131 ger\u00e7e\u011fini belle\u011fin izbe arka odalar\u0131na atmakt\u0131r. Bir anlamda, Connerton\u2019un \u201cbelle\u011fi bast\u0131rmaya d\u00f6n\u00fck bir unutma (repressive erasure<\/em>) dedi\u011fi \u015feye kar\u015f\u0131l\u0131k geliyor.<\/p>\n Bellek, ge\u00e7mi\u015fe dair travmalar\u0131n, nostaljinin, melankolinin katman katman sakland\u0131\u011f\u0131, toptanc\u0131l\u0131\u011fa ve kli\u015felere kar\u015f\u0131n ki\u015fisel anlat\u0131lar\u0131n ve mikro-tarihlerin \u00f6nemsendi\u011fi, gerekti\u011finde y\u00fczle\u015fmek, gerekti\u011finde de kendine ve topluma ayna tutmak i\u00e7in usulca araland\u0131\u011f\u0131 \u00e7ekmecelerdir.<\/p>\n Suman\u2019\u0131n son roman\u0131n\u0131n oda\u011f\u0131nda yer alan ve kentsel bellek ile toplumsal belle\u011fin yitiminin i\u00e7 i\u00e7e ilerledi\u011fi, son d\u00f6nemde ise yerli ve yabanc\u0131 yat\u0131r\u0131mc\u0131lar\u0131n soylula\u015ft\u0131rma projelerinin g\u00f6zdesi Tarlaba\u015f\u0131\u2019n\u0131 ele alal\u0131m:<\/p>\n \u201cDemir \u00d6zl\u00fc bir hikayesinde Tarlaba\u015f\u0131 sokaklar\u0131 i\u00e7in \u2018Paris gibi\u2019 deyimini kullan\u0131r. Demir \u00d6zl\u00fc \u00e7a\u011fda\u015f\u0131m\u0131z bir yazar. Demek ki yak\u0131n zamana kadar nezih bir semtti Tarlaba\u015f\u0131. Bug\u00fcn buna gen\u00e7ler inanm\u0131yor. Oras\u0131 hem tehlikeli, hem uyu\u015fturucu, fuhu\u015f, mafya kokan bir mahalle onlar\u0131n g\u00f6z\u00fcnde. Unutturmak b\u00f6yle bir \u015fey. 1964 s\u00fcrg\u00fcnlerinde \u0130stanbul\u2019dan ayr\u0131lmaya mecbur edilen otuz bin ki\u015filik Rum kafilesini bu Beyo\u011flu\u2019nda, Tarlaba\u015f\u0131\u2019nda, Bo\u011faz\u2019da hi\u00e7 ya\u015famam\u0131\u015f saymak \u0130stanbul\u2019un k\u00fclt\u00fcrel miras\u0131n\u0131 ve ge\u00e7mi\u015fini haf\u0131zadan silmek demek. Bu da \u015fehri y\u0131k\u0131p yeniden yap\u0131land\u0131rmak i\u00e7in bir imk\u00e2n yarat\u0131yor<\/em>,\u201d diye a\u00e7\u0131kl\u0131yor Suman.<\/p>\n 64 s\u00fcrg\u00fcn\u00fcnde on iki bin ki\u015fi Yunan vatanda\u015f\u0131 ve beraberinde de aileleri, \u00e7ocuklar\u0131n\u0131 kapsayan on sekiz bin ki\u015fi do\u011fduklar\u0131 topraklardan kovulmu\u015f. \u0130\u00e7lerinde doksan ya\u015f\u0131nda nineler \u201cvatan haini\u201d diye s\u0131n\u0131r d\u0131\u015f\u0131 edilmi\u015f.<\/p>\n Kalanlar\u0131n aile yadigar\u0131 evlerine polis bask\u0131nlar\u0131yla \u00e7eyizlerinin pazarl\u0131\u011f\u0131 edilmi\u015f, bir \u00f6m\u00fcrl\u00fck \u00e7al\u0131\u015f\u0131p didinmenin eseri oyuncak\u00e7\u0131 d\u00fckkanlar\u0131na el konmu\u015f, eczaneleri \u201cdevredilmi\u015f\u201d, ev tapular\u0131 mafyan\u0131n eline ge\u00e7mi\u015f, kadim mahallelerinden kovulup tek g\u00f6z odalarda \u00e7ile doldurmaya ba\u015flam\u0131\u015flar.<\/p>\n Kimine g\u00f6re, \u201cBu \u015fehir o g\u00fcn bitmi\u015f<\/strong>\u201d, kimi \u201cbizi ufalay\u0131p yem ettiler<\/strong>\u201d demi\u015f, kimi\u00a0kederinden verem olmu\u015f<\/strong>, kimi ise o kovulman\u0131n ard\u0131ndan kuraca\u011f\u0131 her \u015feyin\u00a0kumdan kaleler gibi\u00a0<\/strong>y\u0131k\u0131labilece\u011fini fark etmi\u015f.<\/p>\n Suman\u2019\u0131n tabiriyle \u201cderisi d\u00f6k\u00fclen y\u0131lan misali yepyeni bir insana d\u00f6n\u00fc\u015fm\u00fc\u015fler<\/strong>\u201d. Kaybolan Beyo\u011flu\u2019nun hikayesi i\u00e7inde yersiz, yurtsuz ve yapayaln\u0131z kalm\u0131\u015flar.<\/p>\n Ba\u015fkahraman Periklis\u2019i,\u00a0\u201ckalan ve entegre olmak isteyen, bunun i\u00e7in gerekti\u011finde uysalla\u015fan, gerekti\u011finde mafyadan destek isteyen. Ne pahas\u0131na olursa olsun \u0130stanbul\u2019u b\u0131rakamayan<\/em>,\u201d diye tan\u0131ml\u0131yor Suman. Varl\u0131k Vergisi\u2019nden kurtar\u0131lan dairesi tek tasarrufu olsa da\u2026 Babas\u0131n\u0131n pasaportuna yurda giremez damgas\u0131 konsa da\u2026 Sinir sistemini y\u0131pratacak kadar travma ya\u015fam\u0131\u015f bir neslin \u00e7ocu\u011fu olsa da\u2026<\/p>\n Ama bir yan\u0131yla Kanl\u0131 1 May\u0131s\u2019ta yaral\u0131lar\u0131 tedavi etmek \u00fczere derhal Temrin Yoku\u015fu\u2019ndaki evinden kalk\u0131p, Kurabiye Sokak\u2019taki eczanesini gece yar\u0131s\u0131 a\u00e7acak kadar toplumsal hassasiyeti olan Periklis\u2026<\/p>\n Buna kar\u015f\u0131n, 1964 g\u00f6\u00e7\u00fc s\u0131ras\u0131nda Atina\u2019ya giden ve hukuk okuyan kuzeni Elena ise adaletin pe\u015finde olan\u0131 simgeliyor. Annesinin Samatya\u2019daki evinde, \u00e7ay sofras\u0131nda konu\u015furken \u201cSiz az\u0131nl\u0131k de\u011fil vatanda\u015fs\u0131n\u0131z<\/strong>\u201d diyen Elena\u2026<\/p>\n \u201cUzaktan da olsa adaleti bulmak i\u00e7in a\u015fk\u0131n\u0131 terk eden ve \u015fehrin sakinlerinin al\u0131n terleriyle kazand\u0131klar\u0131 paran\u0131n, vergisini \u00f6dedikleri evlerinin ellerinden al\u0131nmas\u0131na isyan eden, Rumlar\u0131n \u00f6fkeli ve\u00a0 k\u00fcsk\u00fcn y\u00fcz\u00fc<\/em>\u201d diye tan\u0131ml\u0131yor onu da Suman ve ekliyor:<\/p>\n \u201cBug\u00fcn a\u015fkla sevdi\u011fimiz \u015fehrimiz, yurt bildi\u011fimiz co\u011frafyadan ayr\u0131lmaya karar veren ve\/veya buna mecbur kalan pek \u00e7o\u011fumuzun i\u00e7inde bulundu\u011fu bir ikilem Periklis ile Elena\u2019n\u0131n iki ucunu temsil ettikleri<\/em>\u2026\u201d<\/p>\n Bir yandan da Periklis ve onun gibiler, 55\u2019te ka\u00e7anlar\u0131n ve 64\u2019te s\u00fcr\u00fclenlerin yeniden \u0130stanbul\u2019un k\u00fclt\u00fcrel belle\u011finde bir araya gelmesi i\u00e7in \u00e7abal\u0131yor. B\u00fcy\u00fck bir d\u00fc\u011f\u00fcn sofras\u0131nda bir araya getirmeye \u00e7al\u0131\u015f\u0131yor onlar\u0131.<\/p>\n Kul\u00fcp dizisinin \u201cmutlu sofras\u0131\u201dnda da oldu\u011fu gibi b\u00fcy\u00fck trajedilerle \u00f6r\u00fcl\u00fc bir hayat\u0131n t\u00fcm ac\u0131mas\u0131zl\u0131\u011f\u0131, hoyratl\u0131\u011f\u0131, krizlerinin ard\u0131ndan olumsuz gidi\u015fat\u0131 tersine \u00e7evirme aray\u0131\u015f\u0131d\u0131r o sofra metaforu. Kitaptaki haliyle rak\u0131s\u0131yla, \u015farab\u0131yla, mezesiyle, Ermeni a\u015f\u00e7\u0131s\u0131yla, topi\u011fiyle ne de g\u00fczeldir\u2026 Herkes o sofray\u0131 evi bilir.<\/p>\n Ama ayn\u0131 Periklis, Rum isminden dolay\u0131 direksiyon s\u0131nav\u0131n\u0131 tek seferde ge\u00e7emeyece\u011fini de bilir, karantina d\u00f6neminde apartmana gelen filyasyon ekibinin ismini duydu\u011funda kendisine yabanc\u0131 muamelesi yap\u0131p \u0131srarla pasaportunu istemesine de art\u0131k i\u00e7erlemez. \u00c7ok hassas bir ip \u00fczerinde ilerlemektir o k\u00fclt\u00fcrel belle\u011fin k\u0131r\u0131lgan bile\u015fenlerinden biri olmak\u2026<\/p>\n Peki ge\u00e7mi\u015fle y\u00fczle\u015fme,\u00a0alg\u0131sal mekanla olan ili\u015fki<\/strong>yi nas\u0131l d\u00f6n\u00fc\u015ft\u00fcrecek? Hat\u0131ralar\u0131n bilerek silindi\u011fi bu \u015fehirdeki ufak k\u0131r\u0131nt\u0131lardan ge\u00e7mi\u015fe bir a\u011f\u0131t, gelece\u011fe bir umut dizilir mi?<\/p>\n \u00d6rne\u011fin k\u00f6kleri \u0130stanbul\u2019un topra\u011f\u0131na, Beyo\u011flu\u2019nun arka sokaklar\u0131na, A\u015fiyan\u2019a kar\u0131\u015fm\u0131\u015f kozmopolit vatanda\u015flar\u0131na ev sahipli\u011fi yapan o sembolik \u00c7ember Apartman\u0131\u2019n\u0131n yakas\u0131na yap\u0131\u015fan kentsel d\u00f6n\u00fc\u015f\u00fcm, T\u00fcrkiye\u2019nin erken d\u00f6nem tarihine dair t\u00fcm simgeleri de beraberinde molozlar\u0131n alt\u0131na s\u00fcp\u00fcrebilir mi?<\/p>\n \u015eehrin ruhuna ruhlar\u0131n\u0131 katan o neslin ya\u015fad\u0131\u011f\u0131\u00a0apelasis\u00a0<\/em>\u2013kovulma, yerinden olma, s\u00fcr\u00fclme<\/strong>\u2013 an\u0131lar\u0131, izleri, k\u0131rg\u0131nl\u0131klar\u0131 kentsel d\u00f6n\u00fc\u015f\u00fcm misali bir bellek d\u00f6n\u00fc\u015f\u00fcm\u00fcne konu olabilir mi? Ne de olsa Suman\u2019a g\u00f6re, \u201chazm\u0131 en zor duygulardan biridir kovulmak<\/strong>\u201d.<\/p>\n Suman, t\u00fcm kitap boyunca 6-7 Eyl\u00fcl olaylar\u0131n\u0131 \u201cOlaylar\u201d kelimesiyle an\u0131yor. Ya\u015fanan t\u00fcm o trajediyi tek kelime i\u00e7erisinde en yo\u011fun \u015fekilde kalbe ve beyne ula\u015ft\u0131ran bir ifade asl\u0131nda bu. B\u00fcy\u00fck harfle. \u00d6zel isim gibi. Hem \u00f6zel, hem \u00e7ok kamusal. Hem \u00e7ok sade, hem \u00e7ok katmanl\u0131. Daha \u00f6nce Herk\u00fcl Millas da\u00a0Aile Mezar\u0131<\/em>\u00a0adl\u0131 roman\u0131nda \u0130stanbullu Rum bir ailenin 1955\u2019ten g\u00fcn\u00fcm\u00fcze uzanan \u00f6yk\u00fcs\u00fcnde ayn\u0131 kelimeyi kullanm\u0131\u015ft\u0131.<\/p>\n \u201cBiz bug\u00fcn 6\/7 Eyl\u00fcl diyebiliyoruz, hakk\u0131nda rahatl\u0131kla konu\u015fabiliyoruz. Ama asl\u0131nda bu serbestlik \u00e7ok yeni. Belki yirmi y\u0131ll\u0131k bir ge\u00e7mi\u015fi var. Daha \u00f6ncesinde bu konu bir tabu. Hele hele olduktan hemen sonra, \u00fczeri derhal \u00f6rt\u00fclmesi gereken bir taze bir utan\u00e7 iken Rumlar kendi aralar\u0131nda Olaylar dermi\u015f. Hangi olaydan bahsettiklerini a\u00e7maya dahi gereksinim duymadan. Herkes i\u00e7in anlam\u0131 birmi\u015f Olaylar\u2019\u0131n<\/em>.\u201d<\/p>\n Marquez, \u201cHayatta m\u00fchim olan ba\u015f\u0131ndan ne ge\u00e7ti\u011fi de\u011fil, senin neyi hat\u0131rlad\u0131\u011f\u0131n ve onu nas\u0131l hat\u0131rlad\u0131\u011f\u0131nd\u0131r<\/em>\u201d der.<\/p>\n Suman, Eyl\u00fcl \u201cOlaylar\u201d\u0131na t\u00fcm ger\u00e7ek\u00e7ili\u011fi ve h\u00fcmanizmas\u0131yla de\u011finiyor ve onu nas\u0131l hat\u0131rlad\u0131\u011f\u0131n\u0131n da k\u00fclt\u00fcrel bellek a\u00e7\u0131s\u0131ndan \u00f6neminin alt\u0131n\u0131 \u00e7iziyor.<\/p>\n \u00d6rne\u011fin, tecav\u00fcze u\u011frayan, tecav\u00fcze u\u011frad\u0131\u011f\u0131 i\u00e7in ailesi Yunanistan\u2019a giderken yanlar\u0131nda g\u00f6t\u00fcr\u00fclmeyen, geride ayakta kalabilmek ad\u0131na bir T\u00fcrk\u2019le evlenen, ismini ve dinini de\u011fi\u015ftirmemesine ra\u011fmen \u201c\u00f6teki\u201dne boyun e\u011fdi\u011fi i\u00e7in Kilise kay\u0131tlar\u0131ndan bile silinen Despina\u2019n\u0131n Olaylar s\u0131ras\u0131nda babas\u0131n\u0131n d\u00fckkan\u0131ndan eve ka\u00e7maya \u00e7al\u0131\u015f\u0131rken bir avluda s\u0131k\u0131\u015ft\u0131r\u0131lmas\u0131, \u201cyapmay\u0131n\u201d diye yalvarmas\u0131, ard\u0131ndan \u00f6l\u00fc san\u0131l\u0131p b\u0131rak\u0131lmas\u0131\u2026<\/p>\n \u0130stanbullu Rumlar\u0131n say\u0131s\u0131 art\u0131k birka\u00e7 binle ifade ediliyor. Suman ise, \u0130stanbul\u2019da ve \u0130zmir\u2019de kay\u0131p Rum k\u00fclt\u00fcr\u00fcne m\u00fcthi\u015f bir ilgi oldu\u011funu ve bunun da do\u011frudan mekanla ilgili bir \u015fey oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyor:<\/p>\n \u201cKozmopolit \u0130stanbul\u2019un yitirili\u015finin kan\u0131tlar\u0131 h\u00e2l\u00e2 kar\u015f\u0131m\u0131zda. Beyo\u011flu\u2019nun ana caddeleri ve ara sokaklar\u0131, terk edilmi\u015f binalar ya da sudan sebeplerle kullan\u0131m\u0131na izin verilmeyen Rum vak\u0131flar\u0131n h\u00fcz\u00fcnl\u00fc apartmanlar\u0131yla dolu. Son y\u0131llarda Bienal gibi sanatsal etkinlikler i\u00e7in a\u00e7\u0131lmas\u0131na nihayet izin verilen eski Rum okullar\u0131 bize yok olan \u015fehri ve onun k\u00fcsk\u00fcn n\u00fcfusunu bir kez daha hat\u0131rlatt\u0131. Yunanca \u00f6\u011frenmek isteyen \u00e7ok. Yunan adalar\u0131na ak\u0131n ak\u0131n gidiyor T\u00fcrkiyeli orta s\u0131n\u0131f turist. Atina\u2019da, Selanik\u2019te sanat\u00e7\u0131, yazar, psikolog, sosyolog, mimar \u00e7ok say\u0131da T\u00fcrkiye Cumhuriyeti vatanda\u015f\u0131 ya\u015f\u0131yor. Benzer bir bi\u00e7imde \u0130stanbul\u2019da da bir\u00e7ok Yunan vatanda\u015f\u0131 ya\u015f\u0131yor<\/em>.\u201d<\/p>\n Stelyo amcan\u0131n Hacopulo Pasaj\u0131\u2019n\u0131n avlusundaki oyuncak\u00e7\u0131 d\u00fckkan\u0131 incik boncuk\u00e7uya, Periklis\u2019in baba yadigar\u0131 eczanesi sosyetenin u\u011frak yeri bir sanat galerisine d\u00f6n\u00fc\u015f\u00fcrken, \u201calternatif ya\u015fam alanlar\u0131\u201d ad\u0131 alt\u0131nda eski Rum evleri Airbnb\u2019lere d\u00f6n\u00fc\u015f\u00fcrken k\u00fclt\u00fcrel bellek tuz buz ediliyor.<\/p>\n \u0130\u015fin garibi, t\u00fcm bunlar ya\u015fan\u0131rken\u00a0hi\u00e7birimiz de masum de\u011filiz<\/strong>.<\/p>\n Ge\u00e7mi\u015ften bug\u00fcne eksile eksile gelen, a\u015f\u0131s\u0131 olmayan kentsel d\u00f6n\u00fc\u015f\u00fcm salg\u0131n\u0131 Covid-19 salg\u0131n\u0131n\u0131 bile geride b\u0131rak\u0131rken, \u0130stanbul sakinleri g\u00fcn\u00fcm\u00fczde ortak mekanlar\u0131n\u0131 yeniden \u00fcretirken, bize d\u00fc\u015fen de bu ya\u015fayan kent m\u00fczesinin k\u00fclt\u00fcrel belle\u011finden kalan evcille\u015ftirilmi\u015f, tek tiple\u015ftirilmeye \u00e7al\u0131\u015f\u0131lm\u0131\u015f k\u0131r\u0131nt\u0131lar\u0131 bir enkaza d\u00f6n\u00fc\u015fmeden bulup birbirine eklemlemek, tarih okumalar\u0131n\u0131 \u00e7o\u011faltmak, toplumsal hakikate ve ortak ya\u015fanm\u0131\u015fl\u0131klara zaman\u0131nda g\u00f6steremedi\u011fimiz sayg\u0131y\u0131 en az\u0131ndan geride kalan bir avu\u00e7 varl\u0131\u011fa g\u00f6stermek\u2026<\/p>\n \u00d6telemeden, k\u0131r\u0131p ge\u00e7meden, kovmadan, yaralamadan, tam tersine birlikte yeniden b\u00fcy\u00fcterek, \u015fefkatle kucaklayarak\u2026<\/p>\n \u00d6rne\u011fin daha \u00f6nce RUMVADER\u2019in AB destekli \u201cGe\u00e7mi\u015fte olu\u015fan mesafeleri a\u015fmak, birlikte ortak gelecek in\u015fa etmek<\/strong>\u201d ba\u015fl\u0131kl\u0131 projesinde oldu\u011fu gibi T\u00fcrkiye\u2019nin k\u00fclt\u00fcrel \u00e7e\u015fitlili\u011finin ve ortak tarihsel belle\u011fin an\u0131msat\u0131ld\u0131\u011f\u0131 projeler y\u00fcr\u00fcterek\u2026<\/p>\n Benzer \u015fekilde, T\u00fcrkiye\u2019deki Yahudi veya Rum cemaatlerinden 16-21 ya\u015f aras\u0131 gen\u00e7lerle Almanya\u2019daki T\u00fcrkiyeli akranlar\u0131 \u201caz\u0131nl\u0131k olmak\u201d, \u201c\u00f6nyarg\u0131lar\u201d, \u201ckent hakk\u0131 ve birlikte ya\u015fam\u201d, \u201ckimlik ve \u00e7e\u015fitlilik\u201d konular\u0131nda konu\u015fturmak, birbirlerini tan\u0131mak \u00fczere bulu\u015fturmak i\u00e7in bir s\u00fcredir \u0130zmir ve Heidelberg ekseninde s\u00fcrd\u00fcr\u00fclen\u00a0(Un)Stranger Neighbors\u00a0<\/strong>projesi gibi giri\u015fimleri \u00e7o\u011faltarak\u2026<\/p>\n Kent ya\u015fam\u0131n\u0131 payla\u015fman\u0131n \u00f6nemini, ilkelerini ve kentsel mekanlar\u0131n nas\u0131l sa\u011fduyulu ve sayg\u0131l\u0131 \u015fekilde birlikte kullan\u0131labilece\u011fini g\u00f6stererek\u2026<\/p>\n Bir arada olman\u0131n, birlikte veya yan yana ayn\u0131 \u015fehirde kendi renklerimizle ya\u015faman\u0131n yollar\u0131n\u0131 hem kendimize hem de sonraki nesillere aktararak\u2026<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/607dc732676ec334366c3de4-xrVH.jpg?ssl=1\")
<\/em>![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/ekran-goruntusu-2022-11-08-140728-3CoM.jpg?ssl=1\")
![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/cember-apartmani-auxo.jpg?ssl=1\")
![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/narmanli-m-e1562570919595-1200x-Omx0.jpg?ssl=1\")
\nFiziksel y\u0131k\u0131mlar\u0131n ard\u0131ndan belki de baz\u0131 noktalarda sonsuza dek yitirilen kentsel bellek, halklar\u0131n makul\u00fc arayan kesimlerinin kesi\u015fim k\u00fcmelerinden yeniden canland\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131yor.\u00a0 Evet, T\u00fcrkiye ve Yunanistan\u2019daki her iki toplumda da makul\u00fc arayan, resmi tarihe itiraz eden k\u00fc\u00e7\u00fck bir kesim var ve bu kesimlerin kesi\u015fim k\u00fcmelerinden \u00fcmitvar projeler \u00e7\u0131kabilir.<\/span><\/figcaption><\/figure>\n![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/blw0ajniaaa4ox8-Zj5f.jpg?ssl=1\")
![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/rebulhakkimda-ao9f.jpg?resize=788%2C582&ssl=1\")
Roman\u0131n ba\u015fkahramanlar\u0131ndan Periklis Drakos ve benzerleri ise, \u201cge\u00e7mi\u015fe mazi derler. \u015eimdiki zaman senin hayat\u0131nd\u0131r<\/strong>\u201d demi\u015f ve d\u00fcnyevi varolu\u015fun bir gere\u011fi olarak hayata tutunabilmek i\u00e7in hakikati unutmak zorunda kalm\u0131\u015flar. MS hastas\u0131 bir mafya babas\u0131n\u0131n korumas\u0131 alt\u0131na girip Beyo\u011flu\u2019nda eczanesini ya\u015fatma yolunu se\u00e7mi\u015fler.<\/p>\n![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/523-J3Pv.jpg?ssl=1\")
<\/em>![\"\"](\"https:\/\/i0.wp.com\/i.gazeteduvar.com.tr\/storage\/files\/images\/2022\/11\/08\/fotoram-mKxY.jpg?ssl=1\")