ERAN SABANER<\/a><\/strong><\/p>\nGavurkesen Pa\u015fa\u2019dan B\u00fcy\u00fckada\u2019da ilk gen\u00e7li\u011fe, Sevgi Soysal\u2019\u0131n Y\u00fcr\u00fcmek roman\u0131nda az\u0131nl\u0131klar hikayenin bir par\u00e7as\u0131 ve toplumda konumland\u0131r\u0131lma bi\u00e7imleri bize eserin yaz\u0131ld\u0131\u011f\u0131 d\u00f6nem hakk\u0131nda bilgi veriyor.\u00a0<\/em>\u00a0<\/strong><\/p>\nSevgi Soysal\u2019\u0131n\u00a0Y\u00fcr\u00fcmek<\/em>\u00a0roman\u0131n\u0131 ilk \u00f6nce Duygu \u00c7ay\u0131rc\u0131o\u011flu\u2019nun\u00a0Kad\u0131nca Bilmeyi\u015flerin Sonu\u00a0<\/em>isimli kitab\u0131nda duydum. \u201cFeminizmin suskunluk d\u00f6nemi\u201d olarak s\u0131n\u0131fland\u0131rd\u0131\u011f\u0131 60\u2019l\u0131 ve 70\u2019li y\u0131llarda kad\u0131n yazarlar\u0131n metinlerini inceleyen \u00c7ay\u0131rc\u0131o\u011flu, kitap boyunca iki Sevgi Soysal metnine yer veriyor:\u00a0Tante Rosa<\/em>\u00a0ve\u00a0Y\u00fcr\u00fcmek<\/em>.\u00a0Tante Rosa<\/em>\u2019n\u0131n Almanya\u2019da ge\u00e7en ancak ele al\u0131nan toplumsal bask\u0131lar a\u00e7\u0131s\u0131ndan evrensel olarak nitelendirebilece\u011fimiz hikayesine kar\u015f\u0131l\u0131k,\u00a0Y\u00fcr\u00fcmek<\/em>\u2019te s\u0131k\u00e7a T\u00fcrkiye\u2019nin farkl\u0131 \u015fehirlerinden tasvirler g\u00f6zlemliyoruz, bu a\u00e7\u0131dan\u00a0Y\u00fcr\u00fcmek<\/em>T\u00fcrkiyeli bir roman. Hikaye Ankara\u2019dan Tirebolu\u2019ya, \u0130stanbul\u2019dan \u0130mroz\u2019a (G\u00f6k\u00e7eada) z\u0131plarken, d\u00f6nemin toplumsal dinamiklere tan\u0131k oluyoruz. Tabii bu tan\u0131kl\u0131\u011fa T\u00fcrklerin az\u0131nl\u0131klarla olan ili\u015fkileri de dahil. Roman\u0131n merkezinde, a\u015fa\u011f\u0131 yukar\u0131 ayn\u0131 s\u0131n\u0131ftan gelen biri kad\u0131n di\u011feri erkek iki farkl\u0131 karakterin toplumsal cinsiyet kal\u0131plar\u0131 ile m\u00fccadelesi yer alsa da, bu deneyimlerin az\u0131nl\u0131klarla olan ili\u015fkiler do\u011frultusunda da \u015fekillendi\u011fini d\u00fc\u015f\u00fcn\u00fcyorum.\u00a0Y\u00fcr\u00fcmek<\/em>\u2019te T\u00fcrk\u00e7e edebiyat kanonunun di\u011fer romanlar\u0131n\u0131n aksine, az\u0131nl\u0131klar hikayenin bir par\u00e7as\u0131 ve toplumda konumland\u0131r\u0131lma bi\u00e7imleri bize d\u00f6nem hakk\u0131nda bilgi veriyor.<\/p>\nAsl\u0131nda yukar\u0131da yapt\u0131\u011f\u0131m kanona dair g\u00f6nderme, Anadolu K\u00fclt\u00fcr\u2019\u00fcn\u00a0Adalet Atlas\u0131<\/em>\u00a0ismindeki podcastte Tanp\u0131nar edebiyat\u0131na dair bir ele\u015ftiriden yola \u00e7\u0131kt\u0131. Mehmet Fatih Uslu\u2019nun yorumuna g\u00f6re Cumhuriyet d\u00f6nemi rejiminin benimsedi\u011fi T\u00fcrk-S\u00fcnni kimlik ile beraber toplum tekille\u015fir ve gayrim\u00fcslim n\u00fcfusun ba\u015f\u0131na k\u00f6t\u00fc \u015feyler gelir, ancak huzursuzlu\u011fu kaleme alan Tanp\u0131nar Osmanl\u0131 nostaljisi yaparken, Osmanl\u0131\u2019n\u0131n \u00e7o\u011fulcu yap\u0131s\u0131n\u0131 unutur. Tanp\u0131nar\u2019\u0131n g\u00f6rmezden geldi\u011fi gayrim\u00fcsl\u00fcm n\u00fcfus,\u00a0Y\u00fcr\u00fcmek<\/em>\u00a0roman\u0131nda temsil edilir, hatta ya\u015fad\u0131\u011f\u0131 ma\u011fduriyetler de if\u015fa edilir. Ancak en nihayetinde ama\u00e7lar\u0131 ana karakterlerin kendilerini sorgulamalar\u0131na arac\u0131 olmakt\u0131r. Bu nedenle,\u00a0Y\u00fcr\u00fcmek<\/em>\u00a0roman\u0131na az\u0131nl\u0131k perspektifinden bakacak olursak, yapabilece\u011fimiz inceleme ancak ana karakterler Ela ve Memet ekseninde ilerleyebilir.<\/p>\nGavurkesen Pa\u015fa ve mask\u00fclenli\u011fin h\u00fckm\u00fc<\/strong><\/p>\nY\u00fcr\u00fcmek\u00a0<\/em>Ela ve Memet\u2019in \u00e7ocukluktan eri\u015fkinli\u011fe, toplumsal cinsiyet kal\u0131plar\u0131 ve cinsellik konusunda ya\u015fad\u0131\u011f\u0131 kayg\u0131lar\u0131 ve y\u0131lm\u0131\u015fl\u0131klar\u0131 ele al\u0131yor. Memet, \u00f6zellikle \u00e7ocukluk d\u00f6neminde mask\u00fclenli\u011fin beklentileri alt\u0131nda ezilen biri. Onun i\u00e7in mask\u00fclenlik hamaset ile \u00f6zde\u015fle\u015fmi\u015f ancak kendi kurgulad\u0131\u011f\u0131 ideale yakla\u015fmakta zorlan\u0131yor. Memet\u2019e \u00e7elme takan, burnunu kanatan, silah\u0131n\u0131 \u00e7alan ve dedesinin \u201cGavurkesen Pa\u015fa\u201d lakab\u0131n\u0131 onurla ta\u015f\u0131yan Nuri, onun i\u00e7in derin bir \u00f6zg\u00fcvensizlik sebebi. Silah mevzusu o kadar bir travma ki, y\u0131llar sonra ilk cinsel ili\u015fkiye girdi\u011fi an\u0131n sonras\u0131 eve d\u00f6nd\u00fc\u011f\u00fcnde Memet, nerede kald\u0131\u011f\u0131n\u0131 sorgulayan annesine Freud\u2019u mezar\u0131nda ters d\u00f6nd\u00fcrecek bir cevap veriyor: \u201cNuriden tabancam\u0131 geri ald\u0131m.\u201d<\/p>\nMemet\u2019in bir nevi model mask\u00fclen olarak kodlad\u0131\u011f\u0131 Nuri\u2019nin, \u201cGavurkesen Pa\u015fa\u201d soyundan gelmesi bir tesad\u00fcf de\u011fil. Nuri\u2019nin dedesi (veya dedesinin dedesi) rivayete g\u00f6re say\u0131s\u0131z Rum katletmi\u015f, bu sebeple de ailesi mahalle aras\u0131nda bu \u00fcnvan\u0131 alm\u0131\u015f. Asl\u0131nda bu \u00fcnvan, mask\u00fclenli\u011fin \u00f6tekiyle olan ili\u015fkisine \u0131\u015f\u0131k tutuyor. Mask\u00fclenlik, Nuri\u2019nin ya\u015fad\u0131\u011f\u0131 toplumun g\u00f6z\u00fcnde \u00f6tekine h\u00fckmetmek, bu h\u00fck\u00fcm u\u011fruna \u015fiddete ba\u015fvurmak, ve en \u00f6nemlisi de \u00f6tekinin itaatkarl\u0131\u011f\u0131 ile \u00f6d\u00fcllendirilmek demek. Memet\u2019in \u00e7ocuk ya\u015ftan kayg\u0131s\u0131, bu mask\u00fclen kal\u0131ba s\u0131\u011fmamak. Memet\u2019in y\u0131llar sonra, Rum bir ihtiyar\u0131n can\u0131n\u0131 yakan motorcuya hem\u015feri olarak seslendi\u011fini g\u00f6r\u00fcyoruz. Memet iktidar olamazsa da iktidar ile ittifak kurabilece\u011fini fark ediyor ve b\u00f6ylelikle de mask\u00fclenlik ile bar\u0131\u015f\u0131yor.<\/p>\n
Ada i\u00e7inde hiyerar\u015fi<\/strong><\/p>\nRomanda az\u0131nl\u0131k karakterlerle ilk tan\u0131\u015ft\u0131\u011f\u0131m\u0131z an, Ela\u2019n\u0131n B\u00fcy\u00fckada\u2019da ge\u00e7irdi\u011fi yaz ger\u00e7ekle\u015fiyor. Bu k\u0131s\u0131mda Ela\u2019n\u0131n yengesi Sabiha Han\u0131m, Ermeni terzisi ve konu\u011fu Madam Mado ve Rum kom\u015fular\u0131 Madam Marika hikayeye dahil oluyor. Sabiha Han\u0131m\u2019\u0131n \u00e7evresiyle olan ili\u015fkisi T\u00fcrkiye\u2019de etnik gruplar aras\u0131ndaki hiyerar\u015fiyi a\u00e7\u0131k ediyor. Sabiha Han\u0131m, konu\u011funu aileye \u201cErmeni ama p\u0131rlanta\u201d olarak tan\u0131t\u0131yor. Madam Marika, adaya ta\u015f\u0131nan Yahudilerden \u015fikayet ediyor ve onlardan tezgahtar tak\u0131m\u0131 olarak bahsediyor. T\u00fcm bu dinamikler aras\u0131nda belki de en \u015fa\u015f\u0131rt\u0131c\u0131s\u0131, Sabiha Han\u0131m\u2019\u0131n Madam Mado\u2019ya emlak konusunda ak\u0131l verirken, hi\u00e7 \u00e7ekinmeden kay\u0131nbiraderi Hulusi Bey\u2019in kald\u0131klar\u0131 yal\u0131y\u0131 Varl\u0131k Vergisi s\u0131ras\u0131nda bir \u0130talyan tacirden ald\u0131klar\u0131n\u0131 s\u00f6ylemesi. Sohbet etti\u011fi ki\u015finin Varl\u0131k Vergisi\u2019nden etkilenebilece\u011fi Sabiha Han\u0131m\u2019\u0131 ilgilendirmiyor. Bu kay\u0131ts\u0131zl\u0131k hali, etnik kimlikler aras\u0131nda hiyerar\u015finin ne kadar normalle\u015ftirildi\u011fini vurguluyor. T\u00fcrkiye\u2019de servetin hangi gruplardan hangi gruba aktar\u0131ld\u0131\u011f\u0131, kimlerin bu tarz politikalar\u0131 f\u0131rsat bildi\u011fi, bu diyalogda herhangi bir yanl\u0131\u015fl\u0131k yokmu\u015f\u00e7as\u0131na sergileniyor.<\/p>\n
B\u00fcy\u00fckada\u2019da Ela\u2019n\u0131n fakir Rum bir o\u011flan olan Aleko ile gizlice \u00e7aml\u0131kta bulu\u015faca\u011f\u0131n\u0131 \u00f6\u011freniyoruz. Ancak bu bulu\u015fma, Ela\u2019n\u0131n babas\u0131 Hulusi Bey taraf\u0131ndan yasaklan\u0131yor. Yengesi Ela\u2019n\u0131n iyi bir aile k\u0131z\u0131 olarak abileri olan di\u011fer iyi aile k\u0131zlar\u0131yla bulu\u015fmas\u0131 gerekti\u011fi \u00f6\u011f\u00fcd\u00fcn\u00fc veriyor. Bu \u00f6\u011f\u00fcde ra\u011fmen, Ela\u2019n\u0131n Aleko ile bulu\u015ftu\u011funa \u015fahit oluyoruz. Roman kli\u015felerinin aksine, Aleko ve Ela aras\u0131ndaki ili\u015fki, masum ve tutkulu bir yasak a\u015fk yerine bol doz kayg\u0131 ve hayal k\u0131r\u0131kl\u0131\u011f\u0131 i\u00e7eriyor. Ela Aleko ile cinselli\u011fini ke\u015ffetmek istiyor, ancak ona \u00f6\u011fretilenler bu deneyimden zevk almas\u0131na engel oluyor. Aleko ile \u00f6p\u00fc\u015ft\u00fckten sonra babas\u0131n\u0131n \u00f6lmesi, Ela\u2019n\u0131n\u00a0 iyice pi\u015fmanl\u0131k duymas\u0131na sebep oluyor. Memet\u2019in ilk cinsel deneyimi ona mask\u00fclenlik idealine ula\u015ft\u0131\u011f\u0131na dair g\u00fcvence verirken, Ela\u2019n\u0131n cinsel deneyimi onu daha da \u00f6zg\u00fcvensiz yap\u0131yor. Bu noktada k\u0131z ve erkek \u00e7ocuklar i\u00e7in kurgulanan cinselli\u011fin, birbirinden ne kadar farkl\u0131 oldu\u011funu anl\u0131yoruz.<\/p>\n
Aleko-Ela ili\u015fkisini daha detayl\u0131 incelemeden \u00f6nce, modern T\u00fcrk\u00e7e edebiyat\u0131n bir ba\u015fka Aleko\u2019sunu, Bilge Karasu\u2019nun \u201cOda Oda D\u00fcnya\u201d isimli \u00f6yk\u00fcs\u00fcndeki gen\u00e7 Rum Aleko\u2019dan bahsetmek istiyorum.\u00a0Troya\u2019da \u00d6l\u00fcm Vard\u0131<\/em>\u00a0isimli kitab\u0131nda yay\u0131mlanan bu \u00f6yk\u00fcde, ismi bilinmeyen bir anlat\u0131c\u0131 ile Aleko isimli Rum bir \u00e7ocu\u011fun bir kilisedeki bulu\u015fmas\u0131na \u015fahit oluyoruz. Anlat\u0131c\u0131 ve Aleko, Yal\u0131burnu\u2019ndan tan\u0131\u015f\u0131yorlar. Bu ikili, Aleko\u2019nun babas\u0131n\u0131 kaybetti\u011fi d\u00f6nem tam olarak ismi konulmayan ancak duygusal bir ili\u015fki ya\u015fam\u0131\u015flar. Daha sonra anlat\u0131c\u0131 Yal\u0131burnu\u2019ndan ayr\u0131lm\u0131\u015f. Bu d\u00f6nem belli ki Aleko i\u00e7in zorlu ge\u00e7mi\u015f. Aleko \u015fimdi annesiyle Taksim\u2019e ta\u015f\u0131nm\u0131\u015f, ait oldu\u011fu toplumdan ve dinden kendisini uzakla\u015ft\u0131rm\u0131\u015f. Bunun bir sebebi de Aleko\u2019nun anlat\u0131c\u0131yla olan ili\u015fkisi; Rum olmayan bir yabanc\u0131yla beraber kiliseyi \u201ckirletmek\u201d istememesi. Anlat\u0131c\u0131n\u0131n kimli\u011fi tam olarak a\u00e7\u0131klanmasa da, Karasu\u2019nun edebiyat\u0131na a\u015fina olanlar Aleko ve anlat\u0131c\u0131 aras\u0131ndaki ili\u015fkiyi e\u015fcinsel bir a\u015fk olarak okuyabilir. Bu okumaya g\u00f6re, ait oldu\u011fu toplumun Aleko\u2019yu d\u0131\u015flamas\u0131nda iki fakt\u00f6r var; \u00f6tekiyle ili\u015fkisi kadar kendisinin de \u00f6teki olu\u015fu.<\/p>\nKarasu\u2019nun Aleko\u2019su ve\u00a0Troya\u2019da \u00d6l\u00fcm Vard\u0131<\/em>\u2019daki \u00f6tekile\u015fmi\u015f b\u00fct\u00fcn erkek karakterler, erkek olman\u0131n getirdi\u011fi yaln\u0131zl\u0131\u011f\u0131, buhran\u0131 ve kayg\u0131lar\u0131, bir ba\u015fka karaktere yaslanarak ba\u015fkald\u0131r\u0131yor. Soysal\u2019\u0131n Ela karakteri, kad\u0131n olman\u0131n buhran\u0131ndan bir t\u00fcrl\u00fc \u00e7\u0131kam\u0131yor, ba\u015fkald\u0131ram\u0131yor, hapis olmu\u015f hissediyor. Aleko ile ili\u015fkisinde sadece cinselli\u011fin utanc\u0131 ve kayg\u0131s\u0131 yok Ela\u2019da, ayn\u0131 zamanda reddedemedi\u011fi bir iyi aile k\u0131z\u0131 kimli\u011fi var. A\u011fz\u0131n\u0131 \u015fap\u0131rdatarak yemek yiyen Aleko\u2019dan i\u011frenen Ela, \u201ciyi ki Aleko\u2019dan \u00e7ocu\u011fum olmayacak\u201d diye seviniyor.<\/p>\nKorkunun, inan\u00e7s\u0131zl\u0131\u011f\u0131n suskunlu\u011fu<\/strong><\/p>\nY\u00fcr\u00fcmek<\/em>\u2019in finalinde \u0130mroz adas\u0131nda bir \u00e7\u0131karmaya tan\u0131k oluyoruz. Ela, beraber hora tepti\u011fi, kadeh toku\u015fturdu\u011fu, denize girdi\u011fi Rum ada halk\u0131n\u0131 d\u00fc\u015fman olarak g\u00f6rmeyi reddetse de, bu duruma itiraz etse de, korkunun, ku\u015fkunun, inan\u00e7s\u0131zl\u0131\u011f\u0131n s\u00f6zc\u00fcklere s\u0131\u011fmad\u0131\u011f\u0131n\u0131 fark ederek suskun kal\u0131r. Bu suskunluk, Memet ile olan ili\u015fkisine bir ayna g\u00f6revi \u00fcstlenir asl\u0131nda, Memet ile Ela konu\u015famaz, sadece sevi\u015febilir, sevi\u015ftik\u00e7e hem Memet hem o kendi bireysel deneyimlerine, travmalar\u0131na, kayg\u0131lar\u0131na dalarlar.\u00a0 En nihayetinde, \u0130mroz \u015farab\u0131 \u0130stanbul\u2019a d\u00f6n\u00fcld\u00fc\u011f\u00fcnde biter, geriye sadece dipteki k\u00f6t\u00fc alkol tad\u0131 kal\u0131r.<\/p>\nEla\u2019n\u0131n \u00e7\u0131karman\u0131n sessiz ama bir o kadar da belirgin \u015fiddetine kar\u015f\u0131 suskunlu\u011fu, roman boyunca az\u0131nl\u0131klar\u0131n g\u00f6revini tam olarak de\u015fifre etmemize yard\u0131mc\u0131 oluyor asl\u0131nda.\u00a0Y\u00fcr\u00fcmek<\/em>\u2019te az\u0131nl\u0131klar, bilmeyi\u015flerin kurban\u0131d\u0131r bir nevi. Bilmeyi\u015flerin ge\u00e7mi\u015fidir ayn\u0131 zamanda, toplumun h\u00fckm\u00fc alt\u0131nda itaat etmeye zorlanan, bilmekte ge\u00e7 kalm\u0131\u015f olanlard\u0131r. Ela da Soysal\u2019\u0131n bir ba\u015fka efsane karakteri Tante Rosa gibi zaman zaman asap bozar, okuyucu olarak onun suskunlu\u011fu kar\u015f\u0131s\u0131nda \u00f6fkeleniriz.\u00a0Y\u00fcr\u00fcmek<\/em>\u2019te az\u0131nl\u0131klar, bu suskunluk halinin bedelini \u00f6demi\u015flerdir. Onlar y\u00fcr\u00fcyememi\u015ftir, ancak Ela\u2019n\u0131n roman\u0131n son sat\u0131r\u0131nda vestiyerden paltosunu almas\u0131, y\u00fcr\u00fcyemeyen herkese umut verir.<\/p>\nhttps:\/\/www.avlaremoz.com\/2023\/05\/16\/iyi-aile-kizlari-ve-cebi-delik-rum-oglanlari-sevgi-soysalin-yurumek-romaninda-azinliklar\/<\/a><\/strong><\/em><\/p>\n\n
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<\/h3>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"
ERAN SABANER Gavurkesen Pa\u015fa\u2019dan B\u00fcy\u00fckada\u2019da ilk gen\u00e7li\u011fe, Sevgi Soysal\u2019\u0131n Y\u00fcr\u00fcmek roman\u0131nda az\u0131nl\u0131klar hikayenin bir par\u00e7as\u0131 ve toplumda konumland\u0131r\u0131lma bi\u00e7imleri bize eserin yaz\u0131ld\u0131\u011f\u0131 d\u00f6nem hakk\u0131nda bilgi veriyor.\u00a0\u00a0 Sevgi Soysal\u2019\u0131n\u00a0Y\u00fcr\u00fcmek\u00a0roman\u0131n\u0131 ilk \u00f6nce Duygu \u00c7ay\u0131rc\u0131o\u011flu\u2019nun\u00a0Kad\u0131nca Bilmeyi\u015flerin Sonu\u00a0isimli kitab\u0131nda duydum. \u201cFeminizmin suskunluk d\u00f6nemi\u201d olarak s\u0131n\u0131fland\u0131rd\u0131\u011f\u0131 60\u2019l\u0131 ve 70\u2019li y\u0131llarda kad\u0131n yazarlar\u0131n metinlerini inceleyen \u00c7ay\u0131rc\u0131o\u011flu, kitap boyunca iki Sevgi Soysal […]<\/p>\n","protected":false},"author":7,"featured_media":74075,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,54,53],"tags":[],"class_list":["post-74073","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-haberler","category-kitaplar-elestiriler","category-turkiyede-azinliklar"],"yoast_head":"\n
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