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Zahrad anadilinde, yani \u0130stanbullu Ermenice \u015fiirde Garip \u015fiir anlay\u0131\u015f\u0131n\u0131n \u00f6nemli temsilcilerinden biri olmu\u015ftur, \u015fiirlerinde yo\u011fun bir \u201cya\u015fam tad\u0131\u201d vard\u0131r. Zahrad y\u00fcz ya\u015f\u0131nda! \u015eairi sayg\u0131yla selaml\u0131yoruz.<\/strong><\/em><\/p>\n Enver Topalo\u011flu<\/strong><\/p>\n \u015eiirlerin duygusu, d\u00fc\u015f\u00fcncesi, sesi, s\u00f6z\u00fc gibi bir de tad\u0131 vard\u0131r. Yok mudur? Baz\u0131 \u015fiirlerin ac\u0131, tatl\u0131, buruk, ek\u015fi, tuzlu gibi tatlar verdi\u011fi olmuyor mu?<\/p>\n \u015eiirlerdeki tad\u0131n kayna\u011f\u0131 ya\u015famd\u0131r. \u00d6te yandan \u015fiirdeki ya\u015fam\u0131n tad\u0131yla ya\u015fam\u0131n \u015fiir tad\u0131 sarma\u015f\u0131k haldedir genellikle. Ya\u015fam \u015fiirle \u015fiir ya\u015famla kar\u0131\u015f\u0131r. \u015eiirdeki bu bahse konu sarma\u015f\u0131k durum, modern T\u00fcrk\u00e7e \u015fiirde baz\u0131 d\u00f6nemlerde daha da yo\u011funla\u015fm\u0131\u015ft\u0131r diyebiliriz. Garip dalgas\u0131n\u0131n y\u00fckseldi\u011fi k\u0131rkl\u0131 y\u0131llarda oldu\u011fu gibi \u00f6rne\u011fin. O d\u00f6nemde, yani k\u0131rkl\u0131 y\u0131llarda \u015fiirde ya\u015fam\u0131n tad\u0131yla ya\u015famdaki \u015fiirin tad\u0131 biraz daha \u00f6n plana \u00e7\u0131km\u0131\u015ft\u0131r. Modern T\u00fcrk\u00e7e \u015fiirin k\u0131rk elli aras\u0131 y\u0131llar\u0131n\u0131 bu y\u00f6n\u00fcyle de i\u015faretlemek m\u00fcmk\u00fcn. Bunda elbette ki d\u00f6nemin ko\u015fullar\u0131 etkili olmu\u015ftur.<\/p>\n KIRKLI YILLAR<\/strong><\/p>\n Zahrad\u2019\u0131n \u015fair olarak ad\u0131n\u0131n duyuldu\u011fu, \u015fiirinin iskeletinin olu\u015ftu\u011fu y\u0131llard\u0131r k\u0131rklar. Yani modern T\u00fcrk\u00e7e \u015fiirde Garip dalgas\u0131n\u0131n y\u00fckseldi\u011fi, hemen yan\u0131 ba\u015f\u0131nda toplumcu ger\u00e7ek\u00e7i \u015fiir y\u00f6neliminin de \u00e7\u0131k\u0131\u015f arad\u0131\u011f\u0131 y\u0131llar. Ayn\u0131 d\u00f6nemde Hitler fa\u015fizminin ba\u015flatt\u0131\u011f\u0131 \u0130kinci D\u00fcnya Sava\u015f\u0131\u2019n\u0131n Avrupa\u2019y\u0131 ve Rusya\u2019y\u0131 kas\u0131p kavurdu\u011funu, T\u00fcrkiye\u2019de ise bask\u0131 ve yasaklar\u0131n yo\u011fun olarak ya\u015fand\u0131\u011f\u0131n\u0131 kaydedelim. D\u00f6nemin ortam\u0131n\u0131 ve h\u00e2kim havas\u0131n\u0131 yans\u0131tmak i\u00e7in ba\u015fta N\u00e2z\u0131m Hikmet olmak \u00fczere sol, sosyalist muhalefetin \u00f6nde gelen isimlerinin hapishanelerde oldu\u011funu da eklemek gerekir.<\/p>\n Yani k\u0131rkl\u0131 y\u0131llar, k\u0131saca siyasal bask\u0131 ve yasaklar\u0131n b\u00fct\u00fcn a\u011f\u0131rl\u0131\u011f\u0131yla toplumun \u00fcst\u00fcne \u00e7\u00f6kt\u00fc\u011f\u00fc bir s\u00fcre\u00e7tir.<\/p>\n Modern T\u00fcrk\u00e7e \u015fiirde eksiltmenin de, \u015fiirsel ele\u015ftirinin espri, mizah, ironi dolay\u0131m\u0131ndan ge\u00e7erek ifade yolunun a\u00e7\u0131lmas\u0131 da bu d\u00f6nemde ve bu ko\u015fullarda ba\u015flam\u0131\u015ft\u0131r. H\u00fclasa, Garip dalgas\u0131n\u0131n \u00e7\u0131k\u0131\u015f\u0131 ve y\u00fckseli\u015fiyle d\u00f6nemin k\u0131s\u0131tlamaya, yasaklamaya, bask\u0131ya dayal\u0131 politik ko\u015fullar\u0131 aras\u0131nda do\u011frudan bir ili\u015fkiden s\u00f6z edilebilir.<\/p>\n Garip dalgas\u0131n\u0131n hedefinde \u015fiiri \u015fairaneden, s\u00fcsten, safradan, kli\u015feden, eski al\u0131\u015fkanl\u0131klardan kurtarman\u0131n yan\u0131 s\u0131ra \u015fairin bask\u0131lardan, yasaklardan uzak kalaca\u011f\u0131 bir mecra aray\u0131\u015f\u0131 da vard\u0131r. Bunun anlam\u0131 asl\u0131nda siyasal iktidar\u0131n g\u00f6z\u00fcnden uzakta olmakt\u0131r; bask\u0131lar\u0131n kapsama alan\u0131n\u0131n d\u0131\u015f\u0131nda kalmakt\u0131r. Daha a\u00e7\u0131k bir ifadeyle mevcut iktidarla \u00e7at\u0131\u015fmaktan ka\u00e7\u0131nmakt\u0131r. Ancak ama\u00e7lananla netice \u00f6rt\u00fc\u015fmemi\u015ftir.<\/p>\n Garip dalgas\u0131n\u0131n y\u00fcz\u00fc \u015fiirin kayna\u011f\u0131na, yani hayata, hayat\u0131n \u00e7eli\u015fkilerine, \u00e7at\u0131\u015fk\u0131lar\u0131na, kar\u015f\u0131tl\u0131klar\u0131na d\u00f6n\u00fck olmu\u015ftur ama bunda, Garip \u015fiirinin y\u00fcz\u00fcn\u00fcn hayata, g\u00fcnl\u00fck ya\u015fant\u0131n\u0131n trajedisine d\u00f6n\u00fck olu\u015funda, ku\u015fkusuz ayn\u0131 d\u00f6nemin bir ba\u015fka \u015fiir giri\u015fiminin, toplumcu ger\u00e7ek\u00e7i \u015fiir anlay\u0131\u015f\u0131n\u0131n da etkisi vard\u0131r. Garip, \u015fiire yaln\u0131zca \u015fapka giydirmemi\u015f i\u015f\u00e7i tulumu da, bakkal \u00f6nl\u00fc\u011f\u00fc de giydirmi\u015f, sokaklar\u0131n sesini de yans\u0131tm\u0131\u015fsa bunun toplumcu ger\u00e7ek\u00e7i olarak adland\u0131r\u0131lan \u015fiirden esinle oldu\u011fu s\u00f6ylenebilir.<\/p>\n Garip dalgas\u0131n\u0131n zaman i\u00e7inde \u00f6nc\u00fclerinin bile \u015fik\u00e2yet\u00e7i olaca\u011f\u0131 \u00f6l\u00e7ekte geni\u015flemesi \u015fiirin aleyhine bir geli\u015fme olarak de\u011ferlendirilir. Elbette yay\u0131lan suyun derinli\u011fini kaybetmesi ka\u00e7\u0131n\u0131lmazd\u0131r. Garip, \u00f6nc\u00fclerinin ba\u015flang\u0131\u00e7ta payla\u015ft\u0131klar\u0131 poetikay\u0131 a\u015fm\u0131\u015ft\u0131r belki. A\u015f\u0131nd\u0131rm\u0131\u015ft\u0131r da denilebilir.<\/p>\n Her ne olursa olsun Garip dalgas\u0131yla olu\u015fan anlay\u0131\u015f\u0131n \u015fiire ya\u015fam\u0131n, ya\u015fama \u015fiirin \u201cGarip\u201d tad\u0131n\u0131 verdi\u011fini kaydetmek gerekir. Diyece\u011fimiz Garip\u2019i, modern T\u00fcrk\u00e7e \u015fiire ekledi\u011fi tatla da d\u00fc\u015f\u00fcnmek gerekir.<\/p>\n Zahrad\u2019\u0131n \u015fiirlerinde yo\u011fun bir \u201cya\u015fam tad\u0131\u201d vard\u0131r. Onun \u015fiirlerindeki \u201cya\u015fam tad\u0131n\u0131\u201d da Garip \u015fiirinin ve k\u0131rkl\u0131 y\u0131llar\u0131n ko\u015fullar\u0131n\u0131n etkisiyle birlikte a\u00e7\u0131klamak m\u00fcmk\u00fcn olabilir diye d\u00fc\u015f\u00fcn\u00fcyoruz.<\/p>\n ZAHRAD K\u0130MD\u0130R?<\/strong><\/p>\n Zahrad\u2019\u0131n as\u0131l ad\u0131 Zareh Yald\u0131zc\u0131yan\u2019d\u0131r. \u015eair (10 May\u0131s 1924 -21 \u015eubat 2007) \u0130stanbul Ni\u015fanta\u015f\u0131 do\u011fmu\u015f ve \u00f6mr\u00fcn\u00fcn sonuna kadar \u0130stanbul\u2019da ya\u015fam\u0131\u015ft\u0131r. Bir ba\u015fka s\u00f6yleyi\u015fle Zahrad, \u0130stanbullu Ermeni \u015fairdir. Bir ara not Zahrad\u2019\u0131n \u00fc\u00e7 ya\u015f\u0131nda yitirdi\u011fi babas\u0131 Moves Yald\u0131zc\u0131yan hukuk\u00e7udur ve ba\u015f terc\u00fcmanl\u0131k yapm\u0131\u015f, Bab\u0131\u00e2li\u2019de Hariciye Naz\u0131rl\u0131\u011f\u0131\u2019nda dan\u0131\u015fman yard\u0131mc\u0131s\u0131 olarak g\u00f6rev alm\u0131\u015ft\u0131r.<\/p>\n \u015eairin ilk \u015fiiri 1943\u2019te Jamanak gazetesinde yay\u0131mlan\u0131r. Bu tarihten sonra \u00e7o\u011fu Marmara\u2019da olmak \u00fczere bir\u00e7ok dergi ve gazetede \u015fiirleri okuyucuyla bulu\u015fur. Zahrad\u2019\u0131n \u015fiirleri \u0130stanbul d\u0131\u015f\u0131nda Ermenice yay\u0131mlanan mecralarda da yay\u0131mlan\u0131r. \u0130lk kitab\u0131 1960\u2019ta \u201cMedz ka\u011fak\u0131\u201d (B\u00fcy\u00fck \u015eehir) ad\u0131yla okuyucuyla bulu\u015fur. Bir sonraki kitab\u0131 \u201cKuvanor sahmanner (Renkli S\u0131n\u0131rlar) 1968\u2019de yay\u0131mlan\u0131r. \u00dc\u00e7\u00fcnc\u00fc kitab\u0131 1971\u2019de \u00e7\u0131kan \u201cPari yergink\u201d (\u0130yi G\u00f6ky\u00fcz\u00fc) olur. Bu arada ayn\u0131 y\u0131l \u015fiirleri Paris\u2019te yay\u0131mlanan bir se\u00e7kide yer al\u0131r. Zahrad\u2019\u0131n anadilinde yay\u0131mlanan d\u00f6rd\u00fcnc\u00fc kitab\u0131 \u201cGanan\u00e7 bo\u011f\u201d (Ye\u015fil Toprak) Paris\u2019te \u00e7\u0131kar. \u015eiirleri \u0130ngilizceye de \u00e7evrilen \u015fairin be\u015finci kitab\u0131 uzun bir aradan sonra \u201cMeg karov yergu karun\u201d (Bir Ta\u015fla \u0130ki Bahar) 1989\u2019da okurla bulu\u015fur. \u015eairin Gigo \u015fiirleri olarak bilinen \u015fiirleri 1994\u2019te \u201cDzur nsdink Gigo\u201d (E\u011fri Otural\u0131m Gigo Konu\u015fal\u0131m\u201d adl\u0131 kitapta topland\u0131. Bir sonraki y\u0131l 1995\u2019te \u201cMam\u0131 \u00e7ur\u201d (Bir Elek Su) adl\u0131 kitab\u0131 okurla bulu\u015ftu. Son \u015fiirleri \u00f6l\u00fcm\u00fcnden sonra 2009\u2019da \u201cTtumi ham\u201d (Kabak Tad\u0131) ad\u0131yla yay\u0131mlan\u0131r. \u015eairin daha \u00f6nce kitaplar\u0131na girmemi\u015f, dergilerde ve \u00e7ekmecelerde kalm\u0131\u015f \u015fiirleri ise \u201cAndib tert\u0131s\u201d (Yay\u0131mlanmam\u0131\u015f Sayfam) 2012\u2019de \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n T\u00dcRK\u00c7E\u2019DE YAYIMLANAN B\u00dcT\u00dcN \u015e\u0130\u0130RLER\u0130<\/strong><\/p>\n Ge\u00e7en y\u00fczy\u0131lda modern Ermenice \u015fiiri derinden etkileyen \u015fairlerin ba\u015f\u0131nda geldi\u011fi belirtilen \u0130stanbullu Ermeni \u015fair Zahrad\u2019\u0131n, Ohannes \u015ea\u015fkal taraf\u0131ndan T\u00fcrk\u00e7e \u00e7evrilerek yay\u0131mlanan yap\u0131tlar\u0131ndaki \u015fiirleri, \u015eubat 2020\u2019de \u201cBamba\u015fka Bir Bahar\u201d ad\u0131yla bir kitapta topland\u0131. Zahrad\u2019\u0131n T\u00fcrk\u00e7edeki \u015fiirlerinin bir araya getirildi\u011fi kitapta Can Y\u00fccel\u2019in \u201cs\u00f6yledi\u011fi\u201d \u015fiirler de yer al\u0131yor. \u201cAyr\u0131m\u201d ba\u015fl\u0131kl\u0131 \u015fiir de onlardan biri. \u015eairin ilk kitab\u0131nda yer alan \u201cAyr\u0131m\u201ddan bir b\u00f6l\u00fcm aktaral\u0131m:<\/p>\n Gigo kendine bir g\u00f6zl\u00fck ald\u0131<\/p>\n Neye baksa hep mavi g\u00f6r\u00fcyor<\/p>\n G\u00f6kleri mavi \u2013 denizleri mavi<\/p>\n Sevdi\u011fi k\u0131z\u0131n g\u00f6zleri mavi<\/p>\n Mavi g\u00f6r\u00fcyor hep neye baksa<\/p>\n (\u2026)<\/p>\n Gigo kendine bir g\u00f6zl\u00fck ald\u0131<\/p>\n Maviyi mavi g\u00f6r\u00fcyor art\u0131k<\/p>\n \u2018BAMBA\u015eKA B\u0130R BAHAR \u2019<\/strong><\/p>\n \u00d6ncelikle \u201cBamba\u015fka Bir Bahar\u201d\u0131n hayli oylumlu bir derleme oldu\u011funu kaydedelim. Zahrad\u2019\u0131 ve \u015fiirlerini, T\u00fcrk\u00e7ede enine boyuna tan\u0131mak ve okumak isteyenler i\u00e7in son derece \u00f6nemli ve kapsaml\u0131 bir kaynak. \u015eairin ilk kitab\u0131na da ad\u0131n\u0131 veren \u201cB\u00fcy\u00fck \u015eehir\u201d ba\u015fl\u0131kl\u0131 \u015fiirinden bir b\u00f6l\u00fcm okuyarak devam edelim:<\/p>\n B\u00fcy\u00fck \u015fehirde her \u015fey b\u00fcy\u00fck<\/p>\n Zevk b\u00fcy\u00fck<\/p>\n Ac\u0131 b\u00fcy\u00fck<\/p>\n Caddeler ve binalar gibi t\u0131pk\u0131<\/p>\n K\u00fc\u00e7\u00fck insanlar<\/p>\n Hi\u00e7 rahat etmeyecekler b\u00fcy\u00fck \u015fehirde<\/p>\n Garip, \u015fiirin oda\u011f\u0131na s\u0131radan insan\u0131, sokaktaki insan\u0131 ve g\u00fcnl\u00fck ya\u015fant\u0131n\u0131n ayr\u0131nt\u0131lar\u0131n\u0131 ve trajedisini, ironisini al\u0131yordu. Zahrad\u2019\u0131n \u015fiirinde de o vard\u0131r. \u015eairin \u015fiirlerinde s\u0131radan insanlar\u0131n, s\u0131radan ya\u015famlar\u0131n\u0131n g\u00fcnl\u00fck ya\u015fama ko\u015fullar\u0131n\u0131n trajedisine, ironisine odaklanm\u0131\u015ft\u0131r diyebiliriz. \u0130lk kitab\u0131ndan yine, \u201cMahalle\u201d ba\u015fl\u0131kl\u0131 \u015fiirinden bir b\u00f6l\u00fcm sunal\u0131m:<\/p>\n Ben mahallenin \u015fairiyim<\/p>\n Dilim yoksul mahalleli kadar<\/p>\n \u015eiirlerimde tek zenginli\u011fini<\/p>\n Mahallelinin dertleri olu\u015fturuyor<\/p>\n Severim mahallemin sakinlerini<\/p>\n Onlar k\u00f6r \u2013 dolunay\u0131 g\u00f6remeyecek kadar<\/p>\n Sa\u011f\u0131r \u2013 meltemin \u015fark\u0131s\u0131n\u0131 duyamayacak kadar<\/p>\n Dilsiz onlar<\/p>\n Yar\u0131nlar\u0131na ili\u015fkin konu\u015famayacak kadar<\/p>\n Oysa ben yoksul dilimle Orpheus gibi s\u00f6yleyebilirim<\/p>\n \u00c7\u00fcnk\u00fc resimlerimde mahallelinin d\u00fc\u015fleri var<\/p>\n Renk renk d\u00fc\u015fleri<\/p>\n I\u015f\u0131l \u0131\u015f\u0131l d\u00fc\u015fleri<\/p>\n \u2018GAR\u0130P\u2019\u2019 TAT<\/strong><\/p>\n \u015eairin d\u00fc\u015flerinde olan neyse \u015fiirlerinde de o var, ama yaln\u0131zca d\u00fc\u015flerinde olan de\u011fil, ya\u015fam\u0131nda ne varsa onlar da \u015fiirlerindedir. Ayr\u0131ca kayg\u0131, korku dolu karanl\u0131k k\u0131rkl\u0131 y\u0131llarda umutsuz d\u00fcnyan\u0131n umudu \u015fiirlerdedir adeta. Zahrad\u2019\u0131n \u015fiirlerinde de g\u00f6r\u00fcl\u00fcr bu tav\u0131r. Ama ironi ve muziplik a\u011f\u0131rl\u0131ktad\u0131r. \u015eairin \u201c\u00d6zge\u00e7mi\u015f\u201d ba\u015fl\u0131kl\u0131 \u015fiirinden bir b\u00f6l\u00fcm sunal\u0131m:<\/p>\n G\u00fcn\u00fcn birinde bu b\u00f6yle olmayacak dedim<\/p>\n Do\u011fruca Prof. Ni\u015fanyan\u2019\u0131n kap\u0131s\u0131n\u0131 \u00e7ald\u0131m<\/p>\n ba\u015flad\u0131m dans dersine<\/p>\n bir sonraki dansta<\/p>\n g\u00f6z\u00fcn\u00fcn i\u00e7ine baks\u0131n \u2013 \u00e7a\u011f\u0131rs\u0131n seni \u2013<\/p>\n ve \u00f6yle bir tuttum ki k\u0131zlar\u0131<\/p>\n ka\u00e7acak delik arad\u0131lar<\/p>\n bir sonrakinde \u2013<\/p>\n \u00d6zdemir \u0130nce, 30 Ocak 2003\u2019te H\u00fcrriyet\u2019te yay\u0131mlanan \u201cYaprac\u0131\u011f\u0131 G\u00f6ren Bal\u0131k ve Zahrad\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131nda \u201cZahrad, Ermeni dilinde yazan d\u00fcnyan\u0131n en b\u00fcy\u00fck \u015fairlerinden biri\u201d diyor. \u015eu b\u00f6l\u00fcm de \u0130nce\u2019nin yaz\u0131s\u0131ndan: \u201cZahrad\u2019\u0131 benim de \u015fiirlerimi yay\u0131mlayan \u2018Talisman\u2019 (New Jersey, ABD) dergisinden tan\u0131yordum. \u0130ngilizce \u00e7evirilerinden okudu\u011fum bu \u015fairin Ermenistan\u2019da ya\u015fad\u0131\u011f\u0131n\u0131 san\u0131yordum. Ta ki, 1990 ba\u015flar\u0131nda, Talat Sait Halman \u2018Sokak kom\u015fun \u015fair Zahrad\u2019 diye tan\u0131\u015ft\u0131r\u0131ncaya kadar.\u201d<\/p>\n Zahrad anadilinde, yani \u0130stanbullu Ermenice \u015fiirde Garip \u015fiir anlay\u0131\u015f\u0131n\u0131n \u00f6nemli temsilcilerinden biri olmu\u015ftur denilebilir. \u00d6te yandan, Garip\u2019in, modern T\u00fcrk\u00e7e \u015fiirle s\u0131n\u0131rl\u0131 kalan bir anlay\u0131\u015f olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcren izleri de dikkate almak gerekir. Bilhassa \u0130stanbullu Ermenice yazan \u015fairlerin, Garip dalgas\u0131yla etkile\u015fim i\u00e7inde oldu\u011funu g\u00f6steren \u00f6nemli ipu\u00e7lar\u0131 s\u00f6z konusu. Ayr\u0131ca Garip\u2019in \u00f6nc\u00fc \u015fairleri ilk gen\u00e7liklerinde Ankara\u2019dad\u0131r, ama Garip \u015fiirinin bir\u00e7ok y\u00f6nden \u0130stanbullu oldu\u011fu s\u00f6ylenebilir. \u0130kinciyeni de \u00f6yledir. Modern T\u00fcrk\u00e7e \u015fiirde kentli ve \u0130stanbullu tan\u0131m\u0131na en \u00e7ok \u0130kinciyeni uyar.<\/p>\n Zahrad\u2019\u0131n \u015fiirlerinde alt\u0131n\u0131 \u00e7izerek bir kez daha belirtelim; \u015fiirdeki ya\u015fam, ya\u015famdaki \u201cGarip\u201d tat dikkati \u00e7eker. O tad\u0131 anlamak, a\u00e7\u0131klamak i\u00e7in \u00d6zdemir \u0130nce\u2019nin yaz\u0131s\u0131ndaki \u015fu sat\u0131rlar da yol g\u00f6sterici olabilir: \u201c\u0130ngilizce \u00e7evirilerinden okudu\u011fum bu \u015fairin Ermenistan\u2019da ya\u015fad\u0131\u011f\u0131n\u0131 san\u0131yordum. Ta ki, 1990 ba\u015flar\u0131nda, Talat Sait Halman \u2018Sokak kom\u015fun \u015fair Zahrad\u2019 diye tan\u0131\u015ft\u0131r\u0131ncaya kadar.\u201d<\/p>\n TECR\u0130D\u0130N CAM TAVANINI KURAN CAN Y\u00dcCEL<\/strong><\/p>\n Varken yok olmak m\u0131, yok kalmak m\u0131 diyelim. G\u00f6r\u00fclmemek mi diyelim. Kim ya da kimler g\u00f6r\u00fcnmek istemez. Ya da g\u00f6r\u00fcnmek istememenin g\u00f6r\u00fcnmeye engel bir nedeni olmal\u0131. \u00dcrkmek, korkmak gibi \u00f6rne\u011fin. Zahrad g\u00f6r\u00fcnmek istememi\u015f olabilir. Ama g\u00f6rmek isteyen de \u00e7\u0131kmam\u0131\u015ft\u0131r. \u00d6yle anla\u015f\u0131l\u0131yor. \u015eairin uzun y\u0131llar modern T\u00fcrk\u00e7e \u015fiir \u00e7evrelerince bilinmemi\u015f, g\u00f6r\u00fclmemi\u015f olmas\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcc\u00fc. \u015eiir tarihinde, edebiyat tarihinde tersini s\u00f6yleyen bir belge, kay\u0131t yok. Yani Garip \u015fairleriyle de, toplumcu ger\u00e7ek\u00e7ilerle de, \u0130kinciyenicilerle de temas\u0131 oldu\u011funa ili\u015fkin bir foto\u011fraf ya da herhangi bir belge payla\u015f\u0131lm\u0131\u015f de\u011fil. Olsa herhalde payla\u015f\u0131l\u0131rd\u0131. T\u00fcrk\u00e7ede \u00e7eviri de yapan bir\u00e7ok \u015fair olmas\u0131na kar\u015f\u0131n Zahrad\u2019\u0131n \u015fiirini T\u00fcrk\u00e7e \u201cs\u00f6yleyen\u201d tecridin cam tavan\u0131n\u0131 k\u0131ran bilindi\u011fi kadar\u0131yla yaln\u0131zca Can Y\u00fccel olmu\u015ftur.<\/p>\n Bu arada \u00d6zdemir \u0130nce\u2019nin, yaz\u0131s\u0131nda Zahrad\u2019a, 2002 y\u0131l\u0131nda T\u00fcrk\u00e7eye \u00e7evrilerek yay\u0131mlanan \u201cYaprac\u0131\u011f\u0131 G\u00f6ren Bal\u0131k\u201d kitab\u0131 vesilesiyle \u201cT\u00fcrk\u00e7eye ho\u015f geldin\u201d dedi\u011fini de ekleyelim. Bu yakla\u015f\u0131k olarak on y\u0131l gecikmeli bir \u201cho\u015f geldin\u201ddir asl\u0131nda. \u00c7\u00fcnk\u00fc \u015fairin T\u00fcrk\u00e7ede yay\u0131mlanan ilk kitab\u0131 \u201cYa\u011f Damlas\u0131\u201d Ohennes \u015ea\u015fkal\u2019\u0131n \u00e7evirisiyle \u0130yi \u015eeyler yay\u0131nlar\u0131ndan 1993\u2019te \u00e7\u0131km\u0131\u015ft\u0131r.<\/p>\n Zahrad gibi g\u00f6r\u00fclmeyen ba\u015fka \u015fairler de var elbet. Modern T\u00fcrk\u00e7e \u015fiirde onunla \u00e7a\u011fda\u015f ve kap\u0131 kom\u015fu olan \u015fairlerin Zahrad gibi bir \u015fairden uzun y\u0131llar bihaber kalmalar\u0131 nedenleriyle, ni\u00e7inleriyle birlikte sorgulanmaya de\u011fmez mi?<\/p>\n \u00d6te yandan m\u00fccevher m\u00fccevherdir i\u015fte. G\u00f6z\u00fcn\u00fc kapatmakla yok olmuyor. \u015eair de \u00f6yle. \u0130stanbul\u2019da ya\u015fam\u0131\u015f, \u015fiir yazm\u0131\u015f, \u015fiirleri yirmi \u00fc\u00e7 dile \u00e7evrilmi\u015f bir \u015fair Zahrad. Bu bile onun yaln\u0131zca anadilinde de\u011fil, \u00e7evrildi\u011fi dillerde de ne kadar \u00f6nemli bir \u015fair oldu\u011funu g\u00f6sterir. \u015eair i\u00e7in \u015fiirin d\u00fcnya \u00e7ap\u0131ndaki umman\u0131na kar\u0131\u015fabilmi\u015f olmak az \u015fey de\u011fildir. \u00d6te yandan diyebiliriz ki \u015fairi yok say\u0131lmak yok edemiyor. Yaz\u0131lar\u0131m\u0131zda genellikle \u015fiir al\u0131nt\u0131lar\u0131 \u201cbol kep\u00e7eden\u201d olur. Bu defa \u00f6yle olmad\u0131. Niye? Soruyu kar\u015f\u0131l\u0131ks\u0131z b\u0131rakmayal\u0131m. Zahrad\u2019\u0131n \u015fiirlerini merak edenlerin ve T\u00fcrk\u00e7e okumak isteyenlerin do\u011frudan adrese gitmelerini istedik diyelim. \u00c7\u00fcnk\u00fc orada \u00f6nemli bir de\u011fer var\u2026<\/p>\n Zahrad y\u00fcz ya\u015f\u0131nda! \u015eairi sayg\u0131yla selaml\u0131yoruz.<\/p>\n Enver Topalo\u011flu:: T\u00fcrk dili ve edebiyat\u0131 \u00f6\u011frenimi g\u00f6rd\u00fc. Bir\u00e7ok sanat edebiyat dergisinde \u015fiirleri yay\u0131mland\u0131. Alt\u0131 \u015fiir kitab\u0131 bulunuyor. Cumhuriyet gazetesinde 1993 \u2013 2015 y\u0131llar\u0131 aras\u0131nda d\u00fczeltmen olarak \u00e7al\u0131\u015ft\u0131. Emekli oldu. Gazete Duvar\u2019da yazarl\u0131\u011fa ba\u015flad\u0131. Be\u015f y\u0131l s\u00fcreyle cumartesi g\u00fcnleri modern T\u00fcrk\u00e7e \u015fiiri odak alan yaz\u0131lar yazd\u0131. 10 Eyl\u00fcl 2022 tarihinde Art\u0131 Ger\u00e7ek\u2019te ba\u015flad\u0131\u011f\u0131 k\u00f6\u015fe yazarl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyor. Topalo\u011flu 2017\u2019den bu yana \u0130zmir\u2019de ya\u015f\u0131yor.<\/p>\n\n
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