{"id":2574,"date":"2019-05-02T19:41:30","date_gmt":"2019-05-02T16:41:30","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=2574"},"modified":"2020-02-09T12:31:49","modified_gmt":"2020-02-09T09:31:49","slug":"ileri-elestirel-kurmaca-kurmaca-elestiri","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2019\/05\/02\/ileri-elestirel-kurmaca-kurmaca-elestiri\/","title":{"rendered":"\u0130leri, Ele\u015ftirel Kurmaca & Kurmaca Ele\u015ftiri"},"content":{"rendered":"\n

Cem \u0130leri’nin Okurun Belle\u011fi kitab\u0131 Sebald’\u0131n yap\u0131t\u0131na<\/em> (bu terimi de ondan \u00f6\u011frendim) yak\u0131n okuma yap\u0131yor. Temel referans\u0131 Benjamin, okudu\u011fum ilk 150 sayfada en s\u0131k an\u0131lan \u00f6teki yazar Proust -bazen de Barthes. Ben bilmiyorum Proust’u hen\u00fcz. (Kitap bitti\u011finde bu evrenin \u00e7ok daha katmanl\u0131 ve zengin oldu\u011funu \u00f6\u011frenmi\u015ftim.)<\/p>\n\n\n\n

Ele\u015ftirel Kurmaca ve Kurmaca Ele\u015ftiri diye adland\u0131rd\u0131\u011f\u0131 y\u00f6ntemler ise sevdi\u011fim yazma t\u00fcrlerine dair sabitleyiciler oldu. Kendisi mi isimleri koydu, \u00f6nceden kategorize edilmi\u015f mi bu alt t\u00fcrler, bu k\u0131s\u0131mda bir dipnot vermedi\u011fi i\u00e7in bilemiyorum. Enrique Vila-Matas’\u0131 okumaya \u0130leri’nin E Evi’ndeki bir dipnot sayesinde ba\u015flam\u0131\u015ft\u0131m. Minnet eylerim.<\/p>\n\n\n\n

En ba\u015fta Kundera’n\u0131n entelekt\u00fcelleri ve anlat\u0131c\u0131lar\u0131yla tan\u0131\u015fm\u0131\u015f olmal\u0131y\u0131m bu edebi evrenle. Pamuk’un Kara Kitap’taki gazetecilerini de bu denklemde bir yerlerde g\u00f6r\u00fcyorum. Adland\u0131rma ihtiyac\u0131n\u0131 en \u00e7ok John M. Coetzee’nin Romanc\u0131n\u0131n Roman\u0131’nda hissetmi\u015ftim. Makale yazmak ile makale yazan roman karakteri yazmak aras\u0131ndaki geriye \u00e7ekilerek bakan yazar\u0131 seviyorum. Coetzee bu alanda \u00e7ok top \u00e7eviriyor, K\u00f6t\u00fc Bir Y\u0131l\u0131n G\u00fcncesi’nde de sayfalar\u0131n peyzaj\u0131na da\u011f\u0131tm\u0131\u015ft\u0131 \u00e7e\u015fitli sesleri ama \u00e7ok ba\u015far\u0131l\u0131 bir deneme olmad\u0131 bu herhalde.<\/p>\n\n\n\n

\u015eimdilik sadece bu k\u0131sm\u0131 al\u0131nt\u0131lamak sonra ise kitap \u00fczerine daha genel olarak yazarak d\u00fc\u015f\u00fcnmek istiyorum, becerebilirsem. Hem kitaptaki bak\u0131\u015flarla Sebald ve \u00e7evresinde \u00f6r\u00fclen a\u011flar \u00fczerine hem de \u00f6zelde b\u00f6ylesi bir kitap yapa(-bile)n denemeci yazar \u00fczerine… Bu al\u0131nt\u0131 kitab\u0131n birinci b\u00f6l\u00fcm\u00fc olan “\u015e\u00fcpheli, g\u00fcvenilmez bir me\u015fguliyet…”<\/em>i bitiriyor. Birka\u00e7 ifadeyi sonradan d\u00f6nebilmek i\u00e7in e\u011fikle\u015ftirdim. Pasaj, sonralarda tekrardan an\u0131lsa da, kitaba ad\u0131n\u0131 veren “okurun belle\u011fi” fikrini ve \u0130leri’nin kitaptaki niyetini de i\u00e7eriyor. Daha sonra 523. sayfada bu niyetin “Sebald’\u0131 daha iyi anlamaktan ibaret” oldu\u011funu da al\u00e7ak g\u00f6n\u00fcll\u00fcl\u00fckle s\u00f6yl\u00fcyor. Biz vasat okurlara da yaz\u0131k ama.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

“<\/p>\n\n\n\n

Sebald, 20. y\u00fczy\u0131lda ortaya \u00e7\u0131kan birtak\u0131m t\u00fcrleraras\u0131 metinsel \u00e7al\u0131\u015fmalar\u0131n etkisiyle, onlar\u0131 bir ad\u0131m \u00f6teye g\u00f6t\u00fcren, bu metinlerin bi\u00e7imsel yakla\u015f\u0131mlar\u0131n\u0131 \u00e7ok daha geni\u015f, a\u011f\u0131r bir i\u00e7erikle birle\u015ftiren yeni bir bire\u015fime ula\u015f\u0131r. Burada “ele\u015ftirel kurmaca” ile “kurmaca ele\u015ftiri” aras\u0131ndaki fark\u0131n alt\u0131n\u0131 \u00e7izmek gerekir. \u0130lki, Kundera’n\u0131n, tarihini son derece ayr\u0131nt\u0131l\u0131 bir bi\u00e7imde dile getirdi\u011fi, k\u00f6k\u00fc \u00e7ok eskilere uzanan bir alt-t\u00fcr, i\u00e7inde ele\u015ftiri-deneme \u00f6\u011felerini bar\u0131nd\u0131ran, anlat\u0131y\u0131 bir d\u00fc\u015f\u00fcncenin evrili\u015finin anlat\u0131s\u0131 da k\u0131lan Niteliksiz Adam<\/em> gibi kurmaca metinlerin ba\u015flatt\u0131\u011f\u0131 gelenektir. Kurmaca metin, konud\u0131\u015f\u0131na sapmalarla, karakterlerine verdi\u011fi uzun monolog f\u0131rsatlar\u0131yla, tema \u00e7e\u015fitlendirmeleriyle, anlat\u0131n\u0131n ritmini b\u00f6len deneme \u00fcslubuyla, d\u00fc\u015f\u00fcnce yaz\u0131s\u0131n\u0131 kendisine mal etmesi olarak g\u00f6r\u00fclebilir bu \u00e7aba.<\/p>\n\n\n\n

Di\u011fer yanda da a\u011f\u0131rl\u0131kl\u0131 olarak Frans\u0131z edebiyat\u0131n\u0131n s\u00f6z sahibi oldu\u011fu, \u00e7arp\u0131c\u0131 \u00f6rneklerini verdi\u011fi e\u011filim yer al\u0131r: Kurmaca ele\u015ftiri, ilkinin \u00e7izdi\u011fi g\u00fczerg\u00e2h\u0131 tam tersinden kat ederek belki yine ayn\u0131 noktaya var\u0131r. Ele\u015ftirel metnin, d\u00fc\u015f\u00fcnce yaz\u0131s\u0131n\u0131n, denemenin aras\u0131na ya\u015fam\u00f6yk\u00fcsel, anekdotik malzemelerin, an\u0131lar\u0131n, g\u00fcndelik ya\u015famdan fragmanlar\u0131n yerle\u015ftirilmesi, hatta en iyi \u00f6rneklerinde, anlat\u0131 jestlerinin ele\u015ftiri yaz\u0131s\u0131nda yeniden denenmesi, s\u0131nanmas\u0131yla kendini var eden, ilkinden \u00e7ok daha melez bir t\u00fcr ortaya \u00e7\u0131kar. Ele\u015ftirel kurmaca yerini bu \u00f6rneklerde ele\u015ftiriye b\u0131rak\u0131r, Borges, Blanchot, Barthes, yenilerde Vila-Matas, Pierre Bayard…<\/p>\n\n\n\n

Sebald’\u0131n yap\u0131t\u0131, bu iki yakla\u015f\u0131mdan beslenmesine ra\u011fmen, onlardan \u00e7ok farkl\u0131 bir noktaya ta\u015f\u0131r t\u00fcrleraras\u0131 ili\u015fkinin boyutunu. Bu iki alt-kategoriye de tam olarak yerle\u015ftirilemeyecek bir i\u015f yapmaktad\u0131r: anlat\u0131y\u0131 birtak\u0131m d\u00fc\u015f\u00fcncelerin ta\u015f\u0131y\u0131c\u0131s\u0131, \u00e7er\u00e7evesi, de\u011fi\u015fkesi olarak s\u00fcrd\u00fcrmek ya da ele\u015ftirel metnin mesafeli, so\u011fuk yap\u0131s\u0131n\u0131 kurmak i\u00e7in dilin olanaklar\u0131n\u0131 zorlamak gibi bir \u00e7aba s\u00f6z konusu de\u011fildir. Sebald kariyerinin ba\u015f\u0131ndan beri zaten ele\u015ftirel anlamda yazm\u0131\u015f oldu\u011fu, \u00fczerine d\u00fc\u015f\u00fcnm\u00fc\u015f, tart\u0131\u015fm\u0131\u015f oldu\u011fu her \u015feyi, bu kez pek de kurguya, anlat\u0131ya benzemeyen bir y\u00f6ntemle yeniden dener, yeniden \u00fcretir.<\/p>\n\n\n\n

Yo\u011fun referanslama, an\u0131\u015ft\u0131rma, g\u00f6nderme sistemiyle, bir yandan Bat\u0131 edebiyat\u0131 kanonunu kendisine tarihsel bir referans k\u0131lar, bir yandan da, aradan zarif\u00e7e \u00e7ekilerek as\u0131l g\u00f6r\u00fclmesi gerekene i\u015faret eder<\/em>. Burada hem ula\u015f\u0131lmas\u0131 zor bir s\u00fcreklili\u011fi hem de bu tarihin sert bir ele\u015ftirisini ayn\u0131 anda okumak m\u00fcmk\u00fcn. Sebald’\u0131n bu tak\u0131nt\u0131s\u0131n\u0131n nedeni, kendisinden \u00f6nce gelenlere, ge\u00e7mi\u015fe bir yan\u0131t haz\u0131rlaman\u0131n ancak bir t\u00fcr bellek \u00e7al\u0131\u015fmas\u0131 arac\u0131l\u0131\u011f\u0131yla m\u00fcmk\u00fcn olabilece\u011fini d\u00fc\u015f\u00fcnmesidir. Yap\u0131t\u0131n, adeta, kendi belle\u011finin derinliklerinde gizlenen \u00f6nc\u00fcllerine ula\u015fmay\u0131 arzulad\u0131\u011f\u0131 s\u00f6ylenebilir. Oysa bir yandan da kendisini, t\u00fcm zamandizinsel s\u0131n\u0131rlamalar\u0131 elinin tersiyle iterek, belle\u011finde yer eden yap\u0131tlar\u0131n aras\u0131na yerle\u015ftirme<\/em>ye \u00e7al\u0131\u015fmaktad\u0131r.<\/p>\n\n\n\n

“Eski ile yeninin birle\u015ftirilmesinde, yeni icat edilmi\u015f \u00f6\u011fenin, bi\u00e7imin, fikrin, eski yap\u0131n\u0131n \u00fczerine ince bir tabaka gibi kaplanmas\u0131. Yeni \u00f6\u011fe, eskinin bi\u00e7imsel niteliklerinin birebir taklidi ya da \u00e7a\u011fda\u015f bi\u00e7emin bir \u00f6rne\u011fi de\u011fil, fakat, var olan yap\u0131n\u0131n karakteristiklerinin yeniden yorumlanmas\u0131n\u0131n sonucu olmal\u0131d\u0131r.”<\/p>\n\n\n\n

Eski yap\u0131n\u0131n, yap\u0131tlar\u0131n do\u011fas\u0131n\u0131n yeniden yorumlanmas\u0131, bir t\u00fcr g\u00f6rme sorunudur. Edebiyat kadar eski, eskinin i\u00e7indeki yeniyi, yeninin i\u00e7indeki eskiyi g\u00f6rme u\u011fra\u015f\u0131. Sebald bu halitayla, eskiden ve yeniden yap\u0131lm\u0131\u015f duvarla, b\u00fct\u00fcn ili\u015fkilerin \u00e7at\u0131ld\u0131\u011f\u0131 cepheyle, y\u00fczeyle u\u011fra\u015f\u0131r. Kendisini her zaman \u00e7o\u011ful kimliklerle, konumlarla tan\u0131mlayan yap\u0131t, bir t\u00fcr zamandizini bozma eylemi ger\u00e7ekle\u015ftirir.<\/p>\n\n\n\n

Sebald’\u0131n “kurmaca” anlay\u0131\u015f\u0131n\u0131, yap\u0131ta yerle\u015ftirdi\u011fi mekanizmay\u0131 \u00e7\u00f6zmek i\u00e7in, ba\u011flant\u0131lar\u0131 tek tek bulgulamak, birbirleriyle ili\u015fkilerini \u00e7\u00f6zmek i\u00e7in, kulland\u0131\u011f\u0131 teknikleri inceden inceye betimlemek yerine, Sebald hakk\u0131ndaki pek de t\u00fckenecek gibi durmayan okumalar\u0131n \u00e7\u0131k\u0131\u015f noktas\u0131na geri d\u00f6nmek, yap\u0131t\u0131 tam da bu biti\u015ftirme, ili\u015ftirme \u00e7al\u0131\u015fmas\u0131n\u0131n ba\u015flad\u0131\u011f\u0131, karar\u0131n verildi\u011fi anda kavramak, onun temel motiflerinden birini mercek alt\u0131na almak, ayn\u0131 i\u015fi burada yeniden ger\u00e7ekle\u015ftirmek gerekir. Bu yakla\u015f\u0131m, durumun Sebald’a \u00f6zg\u00fc olmad\u0131\u011f\u0131n\u0131, herhangi bir nesneye gere\u011finden fazla yakla\u015fmay\u0131 se\u00e7en herkesin sonunda gelip dayanaca\u011f\u0131 u\u00e7urumlar<\/em>dan biriyle kar\u015f\u0131 kar\u015f\u0131ya oldu\u011fumuzu g\u00f6stermesi a\u00e7\u0131s\u0131ndan anlaml\u0131d\u0131r.<\/p>\n\n\n\n

Sebald’\u0131n okur i\u00e7in olu\u015fturdu\u011fu zihinsel oyun alan\u0131, ba\u011flant\u0131lar\u0131n herkes taraf\u0131ndan kendi \u00e7ap\u0131nda bulgulanabilmesini \u00f6ng\u00f6r\u00fcyor. Okuma ediminin \u00f6n\u00fcn\u00fc a\u00e7\u0131yor, i\u015fi yazarl\u0131kla yan yana konumland\u0131r\u0131yor, okuru bir ad\u0131m ileri s\u00fcr\u00fcyor. T\u00fcm kavramsal altyap\u0131y\u0131, okuman\u0131n \u00f6zg\u00fcrle\u015ftirilmesi deneyimine zemin olarak haz\u0131rl\u0131yor. Yaz\u0131n\u0131n oldu\u011fu kadar okuman\u0131n da bir t\u00fcr araya girme, kesintiye u\u011fratma, par\u00e7alar\u0131n yerlerini de\u011fi\u015ftirerek yeni bir d\u00fczen olu\u015fturma i\u015fi oldu\u011funu g\u00f6steriyor. Okumay\u0131 a\u00e7ma, okumay\u0131 \u00f6ng\u00f6rme, okumay\u0131 kurgulama \u00f6nerisi, tepesinde okuma eti\u011finin keskin k\u0131l\u0131c\u0131n\u0131n par\u0131ldad\u0131\u011f\u0131 bir sahnelemeyle bellek mekanizmalar\u0131na ba\u011flan\u0131yor. Kendi okuman\u0131z\u0131 tamamlad\u0131\u011f\u0131n\u0131zda, “okuma”y\u0131 okumu\u015f oluyorsunuz, Sebald adl\u0131 okurun belle\u011fi<\/em>yle kar\u015f\u0131la\u015f\u0131yorsunuz.<\/p>\n\n\n\n

“<\/p>\n\n\n\n

Cem \u0130leri, Okurun Belle\u011fi, Everest Yay\u0131nlar\u0131, 2016, s. 30-3.<\/p>\n","protected":false},"excerpt":{"rendered":"

Cem \u0130leri’nin Okurun Belle\u011fi kitab\u0131 Sebald’\u0131n yap\u0131t\u0131na (bu terimi de ondan \u00f6\u011frendim) yak\u0131n okuma yap\u0131yor. Temel referans\u0131 Benjamin, okudu\u011fum ilk 150 sayfada en s\u0131k an\u0131lan \u00f6teki yazar Proust -bazen de Barthes. Ben bilmiyorum Proust’u hen\u00fcz. (Kitap bitti\u011finde bu evrenin \u00e7ok daha katmanl\u0131 ve zengin oldu\u011funu \u00f6\u011frenmi\u015ftim.) Ele\u015ftirel Kurmaca ve Kurmaca Ele\u015ftiri diye adland\u0131rd\u0131\u011f\u0131 y\u00f6ntemler ise … Continue reading \u0130leri, Ele\u015ftirel Kurmaca & Kurmaca Ele\u015ftiri<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[33,31,252],"tags":[440,573,574,572,254],"class_list":["post-2574","post","type-post","status-publish","format-standard","hentry","category-alinti","category-deneme","category-yazin","tag-cem-ileri","tag-elestirel-kurmaca","tag-kurmaca-elestiri","tag-okurun-bellegi","tag-w-g-sebald"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-Fw","jetpack-related-posts":[{"id":3404,"url":"https:\/\/yalpertem.com\/blog\/2020\/05\/01\/merkezden-bir-anlatici-olarak-philippe-sollers\/","url_meta":{"origin":2574,"position":0},"title":"Merkez\u2019den bir anlat\u0131c\u0131 olarak Philippe Sollers","author":"yalpertem","date":"1 May 2020","format":false,"excerpt":"Bu yaz\u0131 Papir\u00fcs Dergisi'nin, 24. (Mart-Nisan 2020) say\u0131s\u0131nda \u00e7\u0131kt\u0131. Bir yerde bas\u0131lan ilk ve son yaz\u0131m. Sollers'in Merkez roman\u0131 \u00fczerine. Derginin yeni say\u0131s\u0131 \u00e7\u0131kt\u0131, buraya koymam ay\u0131p olmaz diye d\u00fc\u015f\u00fcnd\u00fcm.\u00a0 Philippe Sollers\u2019ten okudu\u011fum ilk, T\u00fcrk\u00e7eye \u00e7evrilen son kitap olan Merkez\u2019i bitirir bitirmez di\u011fer kitaplar\u0131na ula\u015ft\u0131m. Hayran\u0131 olup, yazd\u0131\u011f\u0131 her \u015feyi\u2026","rel":"","context":"In "ele\u015ftiri"","block_context":{"text":"ele\u015ftiri","link":"https:\/\/yalpertem.com\/blog\/category\/elestiri-2\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/11\/philippe-sollers-merkez-180x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1664,"url":"https:\/\/yalpertem.com\/blog\/2018\/06\/03\/ileri-kent-alintilama-erkmen-pamuk-matas\/","url_meta":{"origin":2574,"position":1},"title":"\u0130leri, Kent ve Al\u0131nt\u0131lama: Erkmen, Pamuk ve Vila-Matas","author":"yalpertem","date":"3 June 2018","format":false,"excerpt":"Dipnottaki al\u0131nt\u0131lar\u0131n al\u0131nt\u0131s\u0131. Buradan bir sayfa sonra Aylak Adam'\u0131n T\u00fcnel'deki yang\u0131n kulesi ile Tehlikeli D\u00f6n\u00fc\u015fler'e, oradan Kenarda'ya ba\u011flan\u0131yordu. Cem \u0130leri kendi ki\u015fisel kay\u0131tlar\u0131n\u0131 da kurguya sokan inan\u0131lmaz bir montaj operat\u00f6r\u00fc, okur ve yazarm\u0131\u015f. 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Selin, 90\u2019lar\u0131n ortas\u0131nda Harvard\u2019da e-postayla, ilk a\u015fk\u0131yla, Macaristan\u2019da \u00f6\u011fretmenlik yapma deneyimiyle tan\u0131\u015f\u0131yor. Bir yazar\u0131n b\u00fcy\u00fcme roman\u0131 olarak g\u00f6r\u00fclebilecek kitap, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Elif Batuman\u2019\u0131n kendi ba\u015f\u0131ndan ge\u00e7en olaylardan yola \u00e7\u0131k\u0131yor.","rel":"","context":"In "okuma notlar\u0131"","block_context":{"text":"okuma notlar\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/ders-notlari\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/11\/elif-batuman-budala-198x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2503,"url":"https:\/\/yalpertem.com\/blog\/2019\/02\/19\/baudelaire-elestiri-ne-ise-yarar\/","url_meta":{"origin":2574,"position":3},"title":"Baudelaire, Ele\u015ftiri Ne \u0130\u015fe Yarar?","author":"yalpertem","date":"19 February 2019","format":false,"excerpt":"Ele\u015ftiri metinlerine ge\u00e7mi\u015ften do\u011fru bir ek. \" Ne i\u015fe yarar? Ele\u015ftirmeni, daha ilk b\u00f6l\u00fcme ad\u0131m atmak istedi\u011fi anda ensesinden yakalay\u0131veren kocaman ve korkun\u00e7 bir soru i\u015fareti. Sanat\u00e7\u0131n\u0131n ele\u015ftiriye kin duymas\u0131n\u0131n ilk gerek\u00e7esi, ele\u015ftirinin burjuvaya hi\u00e7bir \u015fey \u00f6\u011fretememesidir, \u00e7\u00fcnk\u00fc burjuvan\u0131n ne resim yapmaya, ne de uyak ko\u015fmaya niyeti vard\u0131r; sanat\u00e7\u0131 ele\u015ftiriyi\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2019\/02\/charles-baudelaire-modern-hayat%C4%B1n-ressam%C4%B1.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2207,"url":"https:\/\/yalpertem.com\/blog\/2018\/10\/30\/vila-matas-montano-hastaliginda-sebald-referanslari\/","url_meta":{"origin":2574,"position":4},"title":"Vila-Matas, Montano Hastal\u0131\u011f\u0131’nda Sebald Referanslar\u0131","author":"yalpertem","date":"30 October 2018","format":false,"excerpt":"Montano Hastal\u0131\u011f\u0131, oda\u011f\u0131nda Sebald metinleri olan bir roman de\u011fil. Oda\u011f\u0131nda -ki referans verdi\u011fi metinler s\u00f6z konusu oldu\u011funda bir referans oda\u011f\u0131 yok asl\u0131nda- pek \u00e7ok edebi metin var. Sebald ilk on aday listesini ancak zorlar fakat se\u00e7ici ge\u00e7irgenlik ve\u00a0baader-meinhof fenomeni uyar\u0131nca ben onu se\u00e7ip ta\u015f\u0131d\u0131m. Referanslar\u0131 buraya \u00e7ekilse telif sorunu ya\u015fatacak\u2026","rel":"","context":"In "al\u0131nt\u0131"","block_context":{"text":"al\u0131nt\u0131","link":"https:\/\/yalpertem.com\/blog\/category\/alinti\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/10\/enrique-vila-matas-montano-hastal%C4%B1%C4%9F%C4%B1-195x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":194,"url":"https:\/\/yalpertem.com\/blog\/2017\/04\/16\/ayhan-gecgin-i-romanciyi-degerlendirmek\/","url_meta":{"origin":2574,"position":5},"title":"Ayhan Ge\u00e7gin I – Romanc\u0131y\u0131 Tart\u0131\u015fmak","author":"yalpertem","date":"16 April 2017","format":false,"excerpt":"Ko\u00e7ak'\u0131n Tehlikeli D\u00f6n\u00fc\u015fler kitab\u0131nda bahsetti\u011fi Aylak Adam ve Ayhan Ge\u00e7gin aras\u0131nda in\u015fa edilebilecek yol fikri beni Ge\u00e7gin\u2019in romanlar\u0131ndan do\u011fru uzun bir y\u00fcr\u00fcy\u00fc\u015fe \u00e7\u0131kma konusunda ayartm\u0131\u015ft\u0131. Daha \u00f6nce yakalamam imkans\u0131z gibi g\u00f6r\u00fcnen u\u00e7ucu d\u00fc\u015f\u00fcncelere bir nebze daha yakla\u015fabilmeyi ummu\u015ftum. Di\u011fer okurlar\u0131n bu romanlar\u0131 nerelerden okuduklar\u0131na dair ilgimin bir sonucu olarak Ge\u00e7gin\u2026","rel":"","context":"In "ele\u015ftiri"","block_context":{"text":"ele\u015ftiri","link":"https:\/\/yalpertem.com\/blog\/category\/edebiyat\/elestiri\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2574","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/comments?post=2574"}],"version-history":[{"count":1,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2574\/revisions"}],"predecessor-version":[{"id":3097,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/2574\/revisions\/3097"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=2574"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=2574"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=2574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}