Gabriel Garc\u00eda M\u00e1rquez\u2019in yap\u0131tlar\u0131, ger\u00e7ekli\u011fin tek katmanl\u0131 ve dura\u011fan bir alan olarak kavranmas\u0131n\u0131n yetersiz kalabilece\u011fini d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Onun anlat\u0131lar\u0131nda kasaba yaln\u0131zca co\u011frafi bir yerle\u015fim yeri olarak kalmaz; \u00f6l\u00fcler b\u00fct\u00fcn\u00fcyle ge\u00e7mi\u015fe \u00e7ekilip kaybolmaz; ya\u011fmur da yaln\u0131zca bir do\u011fa olay\u0131 olarak i\u015flemez. Macondo\u2019da hayat, g\u00fcndelik akl\u0131n al\u0131\u015ft\u0131\u011f\u0131 s\u0131n\u0131rlar\u0131n \u00f6tesine ta\u015far. Ancak bu ta\u015fma, ger\u00e7eklikten uzakla\u015fma bi\u00e7iminde de\u011fil, ger\u00e7ekli\u011fin farkl\u0131 katmanlar\u0131n\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan bir anlat\u0131 stratejisi olarak de\u011ferlendirilebilir. Bu bak\u0131mdan M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ili\u011fi, ger\u00e7e\u011fi s\u00fcslemekten \u00e7ok, onun g\u00f6r\u00fcnmeyen boyutlar\u0131n\u0131 a\u00e7\u0131\u011fa \u00e7\u0131karan bir anlat\u0131m bi\u00e7imi olarak okunabilir.<\/p>\n
M\u00e1rquez, 1927\u2019de Kolombiya\u2019n\u0131n Aracataca kasabas\u0131nda do\u011fmu\u015f, 1982\u2019de Nobel Edebiyat \u00d6d\u00fcl\u00fc\u2019n\u00fc alm\u0131\u015ft\u0131r. Roman ve \u00f6yk\u00fclerinde fantastik unsurlar ile g\u00fcndelik hayat birlikte yer al\u0131r; Latin Amerika\u2019n\u0131n tarihi, yoksullu\u011fu, \u015fiddeti, aile haf\u0131zas\u0131 ve politik yaralar\u0131, masals\u0131 bir anlat\u0131 \u00e7er\u00e7evesi i\u00e7inde belirginle\u015fir. Bu \u00e7er\u00e7evede<\/p>\n
Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/p><\/blockquote>\n
, onun kurdu\u011fu edebi d\u00fcnyan\u0131n en g\u00fc\u00e7l\u00fc giri\u015f noktalar\u0131ndan biri say\u0131labilir.<\/p>\n
M\u00e1rquez\u2019in kurdu\u011fu anlat\u0131 evreni, hakikatin tek katmanl\u0131 bir a\u00e7\u0131klamaya indirgenemeyece\u011fini g\u00f6steren g\u00fc\u00e7l\u00fc bir \u00f6rnek olarak ele al\u0131nabilir. Bir olay\u0131n yaln\u0131zca g\u00f6r\u00fcnen y\u00fcz\u00fc de\u011fil, ayn\u0131 zamanda tarih, haf\u0131za, korku, aile, toplum ve kader duygusuyla kurdu\u011fu ili\u015fkiler de \u00f6nem ta\u015f\u0131r. M\u00e1rquez\u2019in romanlar\u0131nda ger\u00e7eklik \u00e7o\u011fu zaman bu \u00e7ok katmanl\u0131 yap\u0131 i\u00e7inde i\u015fler. Bu nedenle bir karakterin ba\u015f\u0131na gelen durum, yaln\u0131zca bireysel bir olay olarak de\u011fil; atalar\u0131n suskunlu\u011fu, \u00fclkenin yaralar\u0131 ve ailenin tekrar eden kaderiyle birlikte okunabilecek bir olgu olarak belirir.<\/p>\n
Bu ba\u011flamda Macondo, s\u0131radan bir mek\u00e2n olmaktan \u00e7\u0131kar. Buras\u0131 yaln\u0131zca bir kasaba de\u011fil, ayn\u0131 zamanda insan haf\u0131zas\u0131n\u0131n haritas\u0131 gibi i\u015fleyen bir anlat\u0131 alan\u0131d\u0131r. Bir aile b\u00fcy\u00fcr, \u00e7o\u011fal\u0131r, unutmaya \u00e7al\u0131\u015f\u0131r ve benzer hatalar\u0131 ba\u015fka adlar alt\u0131nda yeniden ya\u015far. Bu nedenle Macondo, anlam\u0131n yo\u011funla\u015ft\u0131\u011f\u0131 bir d\u00fc\u011f\u00fcm olarak d\u00fc\u015f\u00fcn\u00fclebilir. Bu alana temas eden her olay yeni bir ba\u011flam \u00fcretir. Do\u011fum, a\u015fk, sava\u015f, \u00f6l\u00fcm ya da y\u0131llarca s\u00fcren ya\u011fmur gibi farkl\u0131 deneyimler, ayn\u0131 b\u00fcy\u00fck anlam \u00f6rg\u00fcs\u00fcn\u00fcn par\u00e7alar\u0131 h\u00e2line gelir.<\/p>\n
Macondo\u2019yu bu bi\u00e7imde okumak, M\u00e1rquez\u2019in anlat\u0131 d\u00fcnyas\u0131n\u0131 daha a\u00e7\u0131k bi\u00e7imde kavramaya yard\u0131mc\u0131 olabilir. \u00c7\u00fcnk\u00fc buras\u0131 yaln\u0131zca olaylar\u0131n topland\u0131\u011f\u0131 bir sahne de\u011fildir; anlam\u0131n s\u0131k\u0131\u015ft\u0131\u011f\u0131, \u00e7o\u011fald\u0131\u011f\u0131 ve yank\u0131land\u0131\u011f\u0131 bir merkez i\u015flevi g\u00f6r\u00fcr. Macondo\u2019ya gelen her insan, haber, felaket ve mucize, kasaban\u0131n i\u00e7inde birikmi\u015f eski tortuya temas eder. B\u00f6ylece kasaba, edilgen bir dekor olmaktan \u00e7\u0131kar; haf\u0131zay\u0131 ta\u015f\u0131yan, kader duygusunu yo\u011funla\u015ft\u0131ran ve insan\u0131 kendi tekrarlar\u0131yla kar\u015f\u0131 kar\u015f\u0131ya b\u0131rakan canl\u0131 bir alana d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n
M\u00e1rquez\u2019in b\u00fcy\u00fcl\u00fc ger\u00e7ek\u00e7ili\u011finde k\u00fc\u00e7\u00fck g\u00f6r\u00fcnen ayr\u0131nt\u0131lar, uygun ba\u011flam i\u00e7inde geni\u015f bir anlam alan\u0131 a\u00e7abilir.<\/p>\n
Y\u00fczy\u0131ll\u0131k Yaln\u0131zl\u0131k<\/p><\/blockquote>\n
\u2019ta bir \u00e7ocu\u011fun merak\u0131, bir kad\u0131n\u0131n sessizli\u011fi, bir ailenin unutulmu\u015f hatas\u0131 ya da kasaban\u0131n \u00fczerine \u00e7\u00f6ken tuhaf hava bu i\u015flevi \u00fcstlenir. \u0130lk bak\u0131\u015fta masals\u0131 g\u00f6r\u00fcnen ayr\u0131nt\u0131, daha yak\u0131ndan bak\u0131ld\u0131\u011f\u0131nda ger\u00e7e\u011fin derin tabakalar\u0131n\u0131 harekete ge\u00e7iren bir unsur h\u00e2line gelir.<\/p>\n
Burada b\u00fcy\u00fc, akla kar\u015f\u0131 konumlanan bir sis olarak de\u011fil, akl\u0131n tek ba\u015f\u0131na kavramakta zorland\u0131\u011f\u0131 alanlar\u0131 g\u00f6r\u00fcn\u00fcr k\u0131lan bir anlat\u0131 imk\u00e2n\u0131 olarak de\u011ferlendirilebilir. Modern insan\u0131n ger\u00e7e\u011fi \u00e7o\u011fu zaman \u00f6l\u00e7\u00fclebilir olana indirgedi\u011fi s\u00f6ylenebilir. M\u00e1rquez\u2019in anlat\u0131lar\u0131 ise baz\u0131 ger\u00e7eklerin yaln\u0131zca belgelerde, tarihlerde ve resm\u00ee anlat\u0131larda bulunmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Halk dili, dedikodu, r\u00fcya, aile hik\u00e2yesi, bast\u0131r\u0131lm\u0131\u015f ac\u0131 ve ku\u015faktan ku\u015fa\u011fa aktar\u0131lan suskunluk da bu ger\u00e7ekli\u011fin par\u00e7alar\u0131 olarak belirir.<\/p>\n
M\u00e1rquez\u2019i anlamak i\u00e7in haf\u0131za, unutma ve tekrar meselelerine \u00f6zellikle dikkat etmek gerekti\u011fi ileri s\u00fcr\u00fclebilir. \u0130nsan bir ac\u0131y\u0131 unuttu\u011funu d\u00fc\u015f\u00fcnebilir; ancak unutulan \u015fey \u00e7o\u011fu zaman b\u00fct\u00fcn\u00fcyle ortadan kalkmaz, yaln\u0131zca bi\u00e7im de\u011fi\u015ftirir. M\u00e1rquez\u2019in ki\u015filerinde ve ailelerinde bu d\u00f6n\u00fc\u015f\u00fcm s\u0131k\u00e7a g\u00f6r\u00fcl\u00fcr. Eski bir hata ba\u015fka bir ku\u015fakta yeniden ortaya \u00e7\u0131kar; bast\u0131r\u0131lm\u0131\u015f bir korku ba\u015fka bir ad alt\u0131nda geri d\u00f6ner. Zaman ayn\u0131 noktaya d\u00f6n\u00fcyormu\u015f izlenimi verse de, her d\u00f6n\u00fc\u015f yeni bir katman a\u00e7ar.<\/p>\n
M\u00e1rquez\u2019in anlat\u0131lar\u0131nda tarih do\u011frusal bir \u00e7izgi izlemez. Tarih d\u00f6ner, k\u0131r\u0131l\u0131r ve kendi \u00fczerine katlan\u0131r. \u0130nsanlar ge\u00e7mi\u015ften uzakla\u015ft\u0131klar\u0131n\u0131 sansalar da ge\u00e7mi\u015f ba\u015fka bir y\u00fczle geri gelir. Bu geri d\u00f6n\u00fc\u015f, basit bir tekrar olarak de\u011fil, d\u00f6n\u00fc\u015ferek s\u00fcren bir tarihsel ve duygusal devinim olarak g\u00f6r\u00fclebilir. Her ku\u015fak eski yaray\u0131 yeniden ta\u015f\u0131r; yara da her defas\u0131nda ba\u015fka bir beden, ba\u015fka bir hik\u00e2ye ve ba\u015fka bir suskunluk i\u00e7inde yer bulur. Macondo\u2019nun trajedisinin bir b\u00f6l\u00fcm\u00fc de burada aranabilir: Ya\u015fananlar hat\u0131rlanmad\u0131\u011f\u0131nda, kader olarak alg\u0131lanan \u015fey, asl\u0131nda tekrar\u0131n kendisine d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n
M\u00e1rquez\u2019in anlat\u0131 g\u00fcc\u00fc, ola\u011fan\u00fcst\u00fc olan\u0131 ola\u011fan bir ses tonuyla aktarabilmesinde toplan\u0131r. 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 abart\u0131l\u0131 bir vurguyla sunulmaz. Anlat\u0131c\u0131 bunlar\u0131 g\u00fcndelik hayat\u0131n do\u011fal par\u00e7alar\u0131 gibi aktar\u0131r. Bu sakin anlat\u0131m, \u015fa\u015f\u0131rtmaktan \u00e7ok d\u00fc\u015f\u00fcnmeye y\u00f6neltir. Burada ima edilen husus, ger\u00e7ek hayat\u0131n da \u00e7o\u011fu zaman benzer bi\u00e7imde i\u015fleyebilece\u011fi d\u00fc\u015f\u00fcncesidir: B\u00fcy\u00fck mucizeler ve a\u011f\u0131r felaketler, insanlar\u0131n al\u0131\u015f\u0131lm\u0131\u015f c\u00fcmleleri i\u00e7inde ya\u015fanabilir.<\/p>\n
Buradan hareketle \u015fu sonuca var\u0131labilir: Ger\u00e7eklik, yaln\u0131zca g\u00f6r\u00fcnenlerin toplam\u0131 de\u011fildir. G\u00f6r\u00fcnen olan, \u00e7o\u011fu zaman g\u00f6r\u00fcnmeyen katmanlara a\u00e7\u0131lan bir e\u015fik i\u015flevi g\u00f6r\u00fcr. 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 ise zaman ve \u00f6l\u00fcm kar\u015f\u0131s\u0131nda tutunma \u00e7abas\u0131na ba\u011flanabilir.<\/p>\n
M\u00e1rquez\u2019in edebiyat\u0131ndaki temel derinlik, anlam\u0131 tek bir merkezde sabitlememesinde belirginle\u015fir. Onun anlat\u0131lar\u0131, hayat\u0131 katmanl\u0131 bi\u00e7imde okumaya y\u00f6nelir. Bu y\u00f6n\u00fcyle, insan\u0131n hakikate yaln\u0131zca ak\u0131l yoluyla de\u011fil; haf\u0131za, sezgi, ac\u0131, ritim ve hik\u00e2ye arac\u0131l\u0131\u011f\u0131yla da yakla\u015fabildi\u011fini d\u00fc\u015f\u00fcnd\u00fcr\u00fcr.<\/p>\n
Sonu\u00e7 olarak Gabriel Garc\u00eda M\u00e1rquez, d\u00fcnyan\u0131n do\u011frudan b\u00fcy\u00fcl\u00fc oldu\u011funu ileri s\u00fcrmekten \u00e7ok daha incelikli bir edebi i\u015flem ger\u00e7ekle\u015ftirir. Onun anlat\u0131lar\u0131, d\u00fcnyaya yeterince derinden bak\u0131ld\u0131\u011f\u0131nda ger\u00e7ekli\u011fin zaten b\u00fcy\u00fcye benzeyen bir yap\u0131ya sahip olabilece\u011fini hissettirir. Bu nedenle hakikat, her zaman a\u00e7\u0131klaman\u0131n sonunda de\u011fil; kimi zaman unutulmu\u015f bir kasaban\u0131n sokaklar\u0131nda, eski bir aile ad\u0131nda ya da hi\u00e7 dinmeyen bir ya\u011fmurun sesinde belirginle\u015fir.<\/p>\n","protected":false},"excerpt":{"rendered":"
Gabriel Garc\u00eda M\u00e1rquez: Ger\u00e7e\u011fin \u0130\u00e7inde B\u00fcy\u00fcyen Masal Gabriel Garc\u00eda M\u00e1rquez\u2019in yap\u0131tlar\u0131, ger\u00e7ekli\u011fin tek katmanl\u0131 ve dura\u011fan bir alan olarak kavranmas\u0131n\u0131n yetersiz kalabilece\u011fini d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Onun anlat\u0131lar\u0131nda kasaba yaln\u0131zca co\u011frafi…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-51","post","type-post","status-publish","format-standard","hentry","category-edebiyat"],"_links":{"self":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts\/51","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=51"}],"version-history":[{"count":0,"href":"https:\/\/agfocert.net\/index.php?rest_route=\/wp\/v2\/posts\/51\/revisions"}],"wp:attachment":[{"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=51"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=51"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/agfocert.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=51"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}