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Ertesi hafta yazd\u0131klar\u0131n\u0131 bir meslekta\u015f\u0131na g\u00f6stermeye karar verdi -elli ya\u015flar\u0131nda, Marksist, \u00e7ok zarif ve e\u015fcinsel olarak bilinen bir edebiyat \u00f6\u011fretmeniydi.- Fajardie i\u00e7in ho\u015f bir s\u00fcrpriz olmu\u015ftu. “Claudel etkisi… ya da belki daha \u00e7ok P\u00e9guy, serbest dizelerin P\u00e9guy’si… Ama t\u00fcm\u00fcyle de \u00f6zg\u00fcn, art\u0131k pek rastlan\u0131lmayan bir \u015fey.” At\u0131lmas\u0131 gereken ad\u0131mlar konusunda hi\u00e7 ku\u015fkusu yoktu:\u00a0“L’Infini.<\/em> G\u00fcn\u00fcm\u00fczde edebiyat orada yap\u0131l\u0131yor. Yaz\u0131lar\u0131n\u0131z\u0131 Sollers’e g\u00f6ndermeniz gerek.” Biraz \u015fa\u015f\u0131ran Bruno ad\u0131 yineletti, bir yatak markas\u0131yla kar\u0131\u015ft\u0131rd\u0131\u011f\u0131n\u0131n fark\u0131na vard\u0131, ard\u0131ndan yaz\u0131lar\u0131n\u0131 yollad\u0131. \u00dc\u00e7 hafta sonra Deno\u00ebl’e telefon etti; Sollers’in cevap vermesine \u00e7ok \u015fa\u015f\u0131rd\u0131. Sollers bir bulu\u015fma \u00f6nerdi. \u00c7ar\u015fambalar\u0131 dersi yoktu, g\u00fcn\u00fcbirlik gidip gelmek kolayd\u0131. Trende,\u00a0Une curieuse solitude’<\/em>e dalmay\u0131 denedi, \u00e7abucak vazge\u00e7ti, her \u015feye kar\u015f\u0131n\u00a0Femmes’<\/em>den birka\u00e7 sayfa \u00f6zellikle de bald\u0131r bacak b\u00f6l\u00fcmlerini okumay\u0131 ba\u015fard\u0131. \u00dcniversite Soka\u011f\u0131’ndaki bir kafede bulu\u015facaklard\u0131. Yay\u0131nc\u0131 \u00fcn\u00fcne \u00fcn katan a\u011f\u0131zl\u0131\u011f\u0131n\u0131 sallayarak on dakika gecikmeyle geldi. “Ta\u015frada m\u0131s\u0131n\u0131z? K\u00f6t\u00fc bu. Hemen Paris’e gelmek laz\u0131m. Yeteneklisiniz.” Bruno’ya, II. Johannes Paulus’la ilgili yaz\u0131s\u0131n\u0131, L’Infini’<\/em>nin gelecek say\u0131s\u0131nda yay\u0131mlayaca\u011f\u0131n\u0131 s\u00f6yledi. Bruno \u015fa\u015f\u0131r\u0131p kald\u0131; Sollers’in “Katolik kar\u015f\u0131 reformu” d\u00f6neminin tam ortas\u0131nda oldu\u011fundan habersizdi ve Papa lehine co\u015fkulu a\u00e7\u0131klamalar\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyordu. “P\u00e9guy beni \u00e7atlat\u0131yor!” dedi yay\u0131mc\u0131 co\u015fkuyla. “Ya Sade! Sade! \u00d6zellikle Sade okuyun!…”<\/p>\r\n “Aileler \u00fczerine yazd\u0131klar\u0131m…”<\/p>\r\n “Evet, o da g\u00fczel. Tutucusunuz, \u00e7ok iyi. B\u00fct\u00fcn b\u00fcy\u00fck yazarlar tutucudur. Balzac, Flaubert, Baudelaire, Dostoyevski: yaln\u0131zca tutucular. Ama d\u00fczmek de gerek, h\u0131? Toplu d\u00fcz\u00fc\u015fler yapmak gerek. Bu \u00f6nemli.”<\/p>\r\n Sollers be\u015f dakika sonunda, Bruno’yu hafif bir narsis sarho\u015flu\u011fu i\u00e7inde b\u0131rak\u0131p ayr\u0131ld\u0131. D\u00f6n\u00fc\u015f yolunda, yava\u015f yava\u015f sakinle\u015fti. Philippe Sollers \u00fcnl\u00fc bir yazara benziyordu; oysa\u00a0Femmes’<\/em>i okuyunca belli oluyordu, Sollers yaln\u0131zca k\u00fclt\u00fcrel \u00e7evrelerdeki ya\u015fl\u0131 orospular i\u00e7in ba\u015far\u0131l\u0131yd\u0131; k\u00f6rpe k\u0131zlar a\u00e7\u0131k\u00e7a \u015fark\u0131c\u0131lar\u0131 ye\u011fliyordu. Bu ko\u015fullarda, boktan bir dergide amsalak\u00e7a \u015fiirler yay\u0131mlamak neye yarar?<\/p>\r\n “Yine de yay\u0131mlan\u0131nca,” diye s\u00fcrd\u00fcrd\u00fc Bruno, “L’Infini’<\/em>den be\u015f tane birden ald\u0131m. Neyseki, II. Johannes Paulus \u00fcst\u00fcne yazd\u0131klar\u0131m\u0131 yay\u0131mlamam\u0131\u015flar.” \u0130\u00e7 ge\u00e7irdi. “Ger\u00e7ekten k\u00f6t\u00fc bir yaz\u0131… \u015earab\u0131n kald\u0131 m\u0131?”<\/p>\r\n “<\/p>\r\n Michel Houellebecq, Temel Par\u00e7ac\u0131klar, \u00e7ev. Osman Senemo\u011flu, Can Yay\u0131nlar\u0131, 2013 [1998], s. 179-80.<\/p>\r\n","protected":false},"excerpt":{"rendered":"