{"id":3565,"date":"2020-06-17T01:06:15","date_gmt":"2020-06-16T22:06:15","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=3565"},"modified":"2020-07-04T00:37:50","modified_gmt":"2020-07-03T21:37:50","slug":"a-s-byatt-budalalarin-prensi-ceviri","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2020\/06\/17\/a-s-byatt-budalalarin-prensi-ceviri\/","title":{"rendered":"A.S. Byatt, Budalalar\u0131n Prensi (\u00c7eviri)"},"content":{"rendered":"

A.S. Byatt’\u0131n Dostoyevski’nin Budala roman\u0131n\u0131n yeni bir \u0130ngilizce \u00e7evirisi ard\u0131ndan The Guardian’da yazd\u0131\u011f\u0131 k\u0131sa inceleme yaz\u0131s\u0131n\u0131<\/a> \u00e7evirdim. Asl\u0131nda yaz\u0131da yeni \u00e7evirinin k\u00fclliyata katt\u0131klar\u0131ndan bahsetti\u011fi s\u00f6ylenemez. Roman\u0131n detaylar\u0131na girmeden \u00e7at\u0131s\u0131ndaki genel sorularla u\u011fra\u015f\u0131yor. Benim i\u00e7in biraz tesad\u00fcf oldu ama yine ka\u00e7\u0131n\u0131lmaz olarak “\u00f6l\u00fcm motifleri” ve b\u00fcy\u00fcs\u00fc bozulmu\u015f d\u00fcnyaya d\u00f6nd\u00fcm. Bunun yan\u0131 s\u0131ra Budala Prens \u00fczerinden iyili\u011fin sorgulanmas\u0131, y\u00fcce g\u00f6n\u00fcll\u00fc eylemlerin s\u00fcrekli k\u00f6t\u00fcl\u00fc\u011fe yol a\u00e7mas\u0131, kahraman\u0131n cinsellik yoksunlu\u011fu ve ilerledik\u00e7e biraz da\u011f\u0131lan olay \u00f6rg\u00fcs\u00fcnden s\u00f6z ediyor Byatt.<\/p>\n

\"\"<\/p>\n

Budalalar\u0131n Prensi<\/span>
\nA.S. Byatt<\/em><\/strong><\/p>\n

Budala\u2019n\u0131n m\u00fcthi\u015f yeni \u00e7evirisi, Dostoyevski\u2019nin kahraman\u0131n\u0131n beklenmedik y\u00f6nlerini ortaya \u00e7\u0131kar\u0131yor, A.S. Byatt yazd\u0131.<\/em><\/p>\n

19. y\u00fczy\u0131l Avrupa kurmacalar\u0131n\u0131n bi\u00e7imi, Rus\u00e7a olanlar da d\u00e2hil olmak \u00fczere, eski H\u0131ristiyan hik\u00e2yeleriyle g\u00fc\u00e7l\u00fc bir ili\u015fki i\u00e7indelerdi, \u0130ncil\u2019den Bunyan\u2019a kadar. Romanlar k\u0131smen parodiyle, k\u0131smen diyaloglarla, k\u0131smen de reddederek veya yeniden in\u015fa ederek eski meselleri kar\u015f\u0131lar\u0131na al\u0131yorlard\u0131. Middlemarch, kahraman\u0131n\u0131n sonradan-do\u011fmu\u015f bir Aziz Theresa olmas\u0131na dair bir paradigmayla a\u00e7\u0131l\u0131r, \u201c\u00f6\u011frenmeye can atan ruhlar\u0131na bilgi sa\u011flayarak rehberlik edecek, uygun toplumsal inan\u00e7lar ve d\u00fczenler yoktu.\u201d[1]<\/a> Dorothea\u2019n\u0131n erdemi modern d\u00fcnyada kendine bir bi\u00e7im bulamaz. Eliot\u2019un aksine, Dostoyevski bir H\u0131ristiyand\u0131, inanc\u0131n\u0131 korumaya dair \u00e7ok daha g\u00fc\u00e7l\u00fc bir tutkusu vard\u0131. Kurmaca Mesihli\u011fin ve k\u0131yametin bir di\u011fer faili D. H. Lawrence Budala\u2019y\u0131 1915\u2019de okuyordu. \u201cDostoyevski\u2019yi sevmedim\u201d diye yazd\u0131. \u201cS\u0131\u00e7an gibi, nefret i\u00e7inde d\u00fc\u015fe kalka ilerliyor, g\u00f6lgelerde, niyeti de sevgiyi ifade eden \u0131\u015f\u0131\u011fa ait olmak, sevginin t\u00fcm\u00fcne.\u201d Keskin bir \u015fekilde yazd\u0131, \u201cart\u0131k \u0130sa\u2019y\u0131 tap\u0131nma fikrini olu\u015fturmak i\u00e7in gereken, Dostoyevski\u2019ye bak\u0131l\u0131rsa, y\u00fcce bir k\u00f6t\u00fcl\u00fck, bu \u015feytani bir iradenin \u00fcr\u00fcn\u00fc\u2026\u201d<\/p>\n

Bildi\u011fimiz kadar\u0131yla Budala\u2019n\u0131n \u00e7\u0131k\u0131\u015f noktas\u0131 Dostoyevski\u2019nin bir mektubunda yazd\u0131\u011f\u0131 \u00fczere \u201cb\u00fct\u00fcn\u00fcyle harika bir insan\u0131 tarif etmek\u201d idi. Prens M\u0131\u015fkin kutsal bir Rus budalas\u0131, Don Ki\u015fot\u2019un soyundan gelen, H\u0131ristiyanl\u0131ktan \u00e7\u0131km\u0131\u015f bir d\u00fcnyadaki H\u0131ristiyan bir tipti. Yazar ve karakteri b\u00fct\u00fcn romanlarda karakterlerin kar\u015f\u0131la\u015ft\u0131\u011f\u0131 sorunlarla kar\u015f\u0131la\u015f\u0131yordu \u2013romanda iyilik k\u00f6t\u00fcl\u00fck kadar ilgin\u00e7 de\u011fildir ve okuyuculara, Lawrence\u2019tan daha az \u00f6fkeli olanlara bile, itici gelme riskini ta\u015f\u0131r. Ba\u015fka bir sorunsa, iyili\u011fin c\u00f6mertlik anlam\u0131na gelmesi, c\u00f6mertli\u011fin de cinsel enerji yoksunlu\u011funa e\u011filimli olmas\u0131d\u0131r, oysaki bu enerji roman i\u00e7in m\u00fcthi\u015f bir itici g\u00fc\u00e7t\u00fcr. Yukar\u0131da an\u0131lan mektupta, 1868 y\u0131l\u0131nda Dostoyevski roman\u0131n ilk b\u00f6l\u00fcmlerini yazd\u0131\u011f\u0131 ve g\u00f6nderdi\u011fi s\u0131ralarda, finansal ve mesleki \u00e7aresizliklerden dolay\u0131, bu iddial\u0131 projeye olmas\u0131 gerekenden daha erken giri\u015fti\u011fini s\u0131k\u0131nt\u0131l\u0131 bir \u015fekilde teslim eder.<\/p>\n

Roman\u0131n yaz\u0131m\u0131 ve yay\u0131mlanmas\u0131 \u015f\u00fcphesiz \u0131st\u0131rap ve gerginlik i\u00e7inde ger\u00e7ekle\u015fti. \u00d6nceki romanlar\u0131n\u0131n aksine evden uzakta, tefrika amac\u0131yla yaz\u0131ld\u0131, ikinci e\u015fi ve stenograf\u0131 Anna Grigoryevna taraf\u0131ndan bir araya getirildi. Yaz\u0131ld\u0131\u011f\u0131 s\u0131rada k\u0131zlar\u0131 vefat etti. Dostoyevski \u00f6l\u00fcm\u00fcne kumar oynuyordu ve epilepsi n\u00f6betleri ge\u00e7iriyordu. Anna not defterlerini muhafaza etti, bu defterler kitap hen\u00fcz belirmekteyken bile olay \u00f6rg\u00fcs\u00fcn\u00fcn de karakterlerin de ak\u0131\u015fkan ve volkanik bir kaos halinde oldu\u011funu g\u00f6steriyor. \u0130yi prens erken notlarda gururlu ve \u015feytani, (Nastasya Filippovna\u2019n\u0131n bir prototipi olan) evlatl\u0131k k\u0131z karde\u015fine tecav\u00fcz etmi\u015f biri. Ayn\u0131 zamanda kundak\u00e7\u0131l\u0131k yap\u0131yor ve e\u015fini \u00f6ld\u00fcr\u00fcyor. Roman\u0131n ilk b\u00f6l\u00fcm\u00fc, yay\u0131mlanm\u0131\u015f halinde, \u00e7ok \u00e7ok g\u00fc\u00e7l\u00fc olarak de\u011ferlendiriliyor. Dostoyevski sanki nas\u0131l ilerleyece\u011fi hakk\u0131nda tam emin de\u011filmi\u015f gibi. Sonraki iki b\u00f6l\u00fcm fantazmagorik ve da\u011f\u0131n\u0131k, olay \u00f6rg\u00fcs\u00fcnden yoksun ve kesik kesik ve enerjisi y\u00fcksek k\u0131s\u0131mlardan olu\u015fuyor.<\/p>\n

John Jones, yazar \u00fczerine yapt\u0131\u011f\u0131 nefis \u00e7al\u0131\u015fmas\u0131nda, Dostoyevski\u2019nin di\u011fer romanlar\u0131ndan ayr\u0131ks\u0131 bir yerde durmas\u0131 ve Jones\u2019un Rus olmayan okurlar i\u00e7in eri\u015filebilir k\u0131ld\u0131\u011f\u0131 girift dokudan ve kelime oyunlar\u0131ndan mahrum oldu\u011fu iddias\u0131yla, Budala\u2019y\u0131 Dostoyevski\u2019nin b\u00fcy\u00fck eserlerinin aras\u0131nda saym\u0131yor. Ba\u015fka ele\u015ftirmenler de \u201ciyi\u201d prensin herkesin hayat\u0131n\u0131 daha k\u00f6t\u00fc hale getirmesi ve bir \u015fey de elde edememesinden \u015fik\u00e2yet\u00e7iler -asl\u0131nda prens bu anlamda \u0130van Karamazov\u2019un B\u00fcy\u00fck Engizisyoncu hik\u00e2yesindeki dirilen \u0130sa ile kar\u015f\u0131la\u015ft\u0131r\u0131labilir. D\u00fcnya onunla ne yapaca\u011f\u0131n\u0131 bilmez.<\/p>\n

Budala\u2019n\u0131n ba\u015fyap\u0131t oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyorum -sorunlu, yer yer yorucu ya da fazla s\u00fcsl\u00fc, t\u0131pk\u0131 di\u011fer ba\u015fyap\u0131tlar gibi- fakat t\u0131pk\u0131 dramatik yo\u011funlu\u011fuyla Karamazov Karde\u015fler ya da par\u0131ldayan inceli\u011fiyle Ecinniler gibi d\u00fcnya edebiyat\u0131n\u0131n bir o kadar \u00f6nemli bir par\u00e7as\u0131. Bu iki romanda, t\u0131pk\u0131 daha basit olan Su\u00e7 ve Ceza\u2019da da oldu\u011fu gibi, Dostoyevski olay \u00f6rg\u00fcs\u00fcyle politik ve dini fikirleri birlikte i\u015fe ko\u015fuyor. Budala\u2019da kendini Gotik\u2019ten Aziz\u2019in Ya\u015fam\u0131\u2019na \u00e7eviren bir karakterin ve hik\u00e2yenin gerilimlerini yol \u00fcst\u00fcnde kavramaya \u00e7al\u0131\u015f\u0131yor. Bunu m\u00fcthi\u015f k\u0131lan bir ikili yap\u0131 s\u00f6z konusu -prensin karakteri ve \u00f6l\u00fcmle y\u00fcz y\u00fcze gelinen g\u00fc\u00e7l\u00fc kar\u015f\u0131la\u015fmalar. Budala\u2019n\u0131n as\u0131l konusu \u00f6l\u00fcm\u00fcn ger\u00e7ekle\u015fmek \u00fczereli\u011fi ve i\u00e7kinli\u011fi. Bunlar\u0131n imgesi Holbein\u2019in \u0130sa\u2019n\u0131n ha\u00e7tan indirildikten sonraki portresi, Rogojin\u2019in evinde bir kopyas\u0131 bulunan, hem Dostoyevski hem de Prens M\u0131\u015fkin taraf\u0131ndan Basel\u2019de g\u00f6r\u00fclen. Bu resmin temsil etti\u011fi, bize aktar\u0131lana g\u00f6re, ya\u015fam\u0131n d\u0131\u015f\u0131na d\u00fc\u015fm\u00fc\u015f safi etten ibaret bir \u00f6l\u00fc adam, tahrip olmu\u015f ve yok edilmi\u015f, gelecekteki olas\u0131 bir dirili\u015f im\u00e2s\u0131ndan yoksun. Roman\u0131n bi\u00e7imi Dostoyevski\u2019nin en derin meselelerinin amans\u0131z patlamalar\u0131yla \u015fekilleniyor. Bunlar Dostoyevski\u2019nin yo\u011fun dini duygulara dair \u015f\u00fcpheleri ve korkular\u0131n\u0131n niteli\u011finden kaynaklan\u0131yor -\u015f\u00fcphesiz Lawrence da bu duruma tepki g\u00f6steriyor.<\/p>\n

Bu harika yeni \u00e7eviriyi okumadan \u00f6nce de fark\u0131ndayd\u0131m, tamamen anlam\u0131\u015f olmasam da, romandaki \u00f6l\u00fcm meselesi \u00f6zel olarak idam fikrine ba\u011fl\u0131yd\u0131 -derinlemesine d\u00fc\u015f\u00fcnmedi\u011fim k\u0131s\u0131m ise maddeci bir d\u00fcnyada resimdeki idam edilmi\u015f adam\u0131n \u00f6l\u00fc birisi oldu\u011fuydu, bilinci vah\u015fice yok edilen biri. Hik\u00e2yede cinayet ve idama dair ritmik d\u00fc\u015f\u00fcnme anlar\u0131 var, en g\u00fc\u00e7l\u00fc ve dayan\u0131lmaz olanlar\u0131ndan birinde M\u0131\u015fkin bizi \u00f6l\u00fcm\u00fcn mutlakl\u0131\u011f\u0131 kar\u015f\u0131s\u0131ndaki deh\u015fetle, beden ve zihin gayet iyi bir durumdayken, kararla\u015ft\u0131r\u0131lm\u0131\u015f ve ka\u00e7\u0131n\u0131lmaz olan \u00f6l\u00fcm\u00fcn kesinli\u011fiyle y\u00fczle\u015ftiriyor. Bu hayal bile edilemez duygular\u0131n yak\u0131n incelenmesinin deh\u015fet verici do\u011fas\u0131 Dostoyevski\u2019nin t\u00fcm bunlar\u0131 betimlemeye dair otoritesinden ileri geliyor, kendisi de imparatorlu\u011fun bir anl\u0131k karar\u0131yla ya da bir g\u00fc\u00e7 g\u00f6sterisiyle \u00f6l\u00fcme mahk\u00fbm edilmi\u015f ve cezas\u0131 ertelenmi\u015fti, \u00f6ld\u00fcr\u00fclen arkada\u015f\u0131n\u0131n yan\u0131nda dara\u011fac\u0131nda beklemi\u015fti. Romanda Frans\u0131z cellad\u0131n giyotin infaz\u0131 betimleniyor. Dind\u0131\u015f\u0131, ahmak ve geveze Lebedev, bunu kafas\u0131na koyup Kontes du Barry i\u00e7in dua ediyor, ba\u015fka bir anda nazik\u00e7e ve n\u00fckteli bir \u015fekilde cellad\u0131n kad\u0131n\u0131n ba\u015f\u0131n\u0131 tekmelemesini sorguluyor. \u0130dam\u0131n kesinli\u011fiyle ba\u011flant\u0131l\u0131 olan bir di\u011fer durum ise verem hastas\u0131 gencin vahameti: bo\u015f bir duvara bakan, elinde ac\u0131nacak bir \u015fekilde \u201cApres moi le Deluge\u201d [Benden sonra Tufan<\/em>] yazan bir gazeteyle \u00f6l\u00fcm\u00fcn\u00fcn bir jestini ger\u00e7ekle\u015ftirmeye \u00e7al\u0131\u015fan (bu s\u0131rada intihar\u0131 deneyip y\u00fcz\u00fcne g\u00f6z\u00fcne bula\u015ft\u0131ran) \u0130ppolit. Rogojin idam edilmiyor fakat Nastasya Filippovna\u2019y\u0131 \u00f6ld\u00fcrmesi sebebiyle Sibirya\u2019ya s\u00fcr\u00fcl\u00fcyor. Prens cesedin \u00fczerine \u00e7ullanan katili g\u00f6rmesiyle ifadesiz bir budalalal\u0131k haline geri d\u00f6n\u00fcyor. \u00c7iftlik arabas\u0131ndaki idaml\u0131k adam\u0131n korkun\u00e7 saydaml\u0131\u011f\u0131yla ili\u015fkili olarak, epilepsi \u00f6ncesi auran\u0131n ola\u011fan\u00fcst\u00fc saydaml\u0131\u011f\u0131, zaman ve mek\u00e2ns\u0131z bir ne\u015fe, bir anl\u0131k sonsuzluk. \u0130mgelerin anlamlar\u0131 bizzat kendileri.<\/p>\n

Budala\u2019n\u0131n olay \u00f6rg\u00fcs\u00fcyle ilgili sorunun bir k\u0131sm\u0131 karakterlerin \u00e7o\u011funun temelsiz g\u00f6r\u00fcnmesinden kaynaklan\u0131yor, kad\u0131n karakterlerin \u00f6ng\u00f6r\u00fclemezlikleri birbiri ard\u0131na da\u011f\u0131n\u0131k ve sonu\u00e7suz, kar\u015f\u0131l\u0131k vermenin g\u00fc\u00e7 oldu\u011fu olaylara yol a\u00e7\u0131yor. Bu sorunun k\u0131smen -tamamen de\u011fil- sebeplerinden birisi daha \u00f6nce and\u0131\u011f\u0131m gibi cinsel enerji ve iyilik aras\u0131ndaki garip ili\u015fki. Kad\u0131nlar, t\u0131pk\u0131 tutkular\u0131 ve ekonomik bask\u0131lar\u0131 konu eden \u00e7o\u011fu romanda oldu\u011fu gibi, ba\u015ftan \u00e7\u0131karma, tecav\u00fcz, teklifler, para ve evlili\u011fe dair bir hik\u00e2yenin i\u00e7inde olduklar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorlar. Prens sezgisel olarak kimin kime zalimlik yapt\u0131\u011f\u0131n\u0131, kimin yoksul oldu\u011funu ve kimin \u0131st\u0131rap verdi\u011fini ya da duydu\u011funu \u00f6l\u00e7ebildi\u011fi fakat bizzat kendisinin ba\u015fkalar\u0131 \u00fczerindeki etkisini de\u011ferlendirmesine yard\u0131mc\u0131 olabilecek hakiki bir cinsel kar\u015f\u0131l\u0131k ta\u015f\u0131mad\u0131\u011f\u0131 mutlak bir ahlak d\u00fcnyas\u0131nda. Kadim sorun: \u201cE\u011fer cinsel arzular\u0131 ya da deneyimleri yoksa \u0130sa nas\u0131l olur da kusursuz biri olabilir?\u201d Hem olduk\u00e7a tecr\u00fcbeli hem de utanga\u00e7 saf kad\u0131nlar\u0131 cezbeden Prens’in sab\u0131rl\u0131, \u00f6zenli ve \u015fefkatli nitelikleri sayesinde onu \u201csevmeyi\u201d d\u00fc\u015f\u00fcnen Nastasya Filippovna ve Aglaya aras\u0131ndaki anbean eylemlerde ve tepkilerde dikkate de\u011fer psikolojik incelikler var. \u0130kisi de, bana g\u00f6re, Prens\u2019in pratik erdemlerindeki anla\u015f\u0131lmas\u0131 g\u00fc\u00e7 bir \u015feyden, tam olarak fark\u0131nda olmasalar da, rahats\u0131zl\u0131k duyuyorlar, bu rahats\u0131zl\u0131k d\u00f6n\u00fc\u015f\u00fcml\u00fc olarak bir \u00e7e\u015fit eksiklik ya da k\u0131smi yarg\u0131lar\u0131ndaki tedirgin edici bir hak iddias\u0131 \u015feklinde ortaya \u00e7\u0131k\u0131yor. Prens asl\u0131nda onlar\u0131n d\u00fcnyalar\u0131nda de\u011fil ama ne kendileri ne de Prens bunun t\u00fcm\u00fcyle fark\u0131na varabiliyor.<\/p>\n

Prens, kendi g\u00fcl\u00fcn\u00e7 modelleri olan Don Ki\u015fot ve Mr. Pickwick\u2019i masumiyetinin zarara yol a\u00e7mas\u0131 a\u00e7\u0131s\u0131ndan an\u0131msat\u0131yor. Don Ki\u015fot, ilk hakiki romanda, romans\u0131n ve dinin kadim bi\u00e7imlerinin zihninde ve k\u00e2\u011f\u0131tlar\u0131m\u0131zda heyulalara d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc d\u00fcnyada ya\u015f\u0131yordu. M\u0131\u015fkin onun sonras\u0131nda yer al\u0131yor, yitirilmi\u015f mutlakl\u0131klar\u0131n daha kafa kar\u0131\u015ft\u0131r\u0131c\u0131 ve daha trajik bir fig\u00fcr\u00fc. Tanr\u0131\u2019n\u0131n sadece \u00f6l\u00fc bir et par\u00e7as\u0131 oldu\u011fu bir d\u00fcnyada, iyi bir insan ancak budalaya d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n

[1]<\/a> George Eliot. (2020 [1871]). Middlemarch<\/em>. (\u00e7ev.) \u00dcnal Ayt\u00fcr. \u0130stanbul: Yap\u0131 Kredi Yay\u0131nlar\u0131. s. 32. [Bu b\u00f6l\u00fcm\u00fc bana ileten Selim Bekta\u015f\u2019a \u00e7ok te\u015fekk\u00fcr ediyorum.<\/em>]<\/p>\n

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Budala’y\u0131 yeni okudum, okudu\u011fum ve izledi\u011fim bir\u00e7ok \u015fey i\u00e7in kurucu tart\u0131\u015fmalar\u0131, olaylar\u0131 ve karakterleri oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcm. T\u00fcrkiye Sinemas\u0131 Budala’dan \u00e7ok beslenmi\u015f, t\u0131pk\u0131 Byatt’\u0131n bu romanlar\u0131n kadim metinlerden beslendi\u011fi iddias\u0131nda oldu\u011fu gibi. S\u0131k s\u0131k ard\u0131llar\u0131na \u00e7a\u011fr\u0131\u015f\u0131mlar yapt\u0131. Tekrardan, b\u00f6yle temel metinleri okumak varken neden daha c\u0131l\u0131z ve belki \u00e7o\u011fu ikincil g\u00fcncel kitaplarla oyalan\u0131yorum diye hay\u0131fland\u0131m fakat bu duygu hemen ge\u00e7ti. Okuma ser\u00fcvenimde bu dengeyi ideal haline getirmeyi arzuluyorum. D\u00fcn izledi\u011fim, hafif de olsa arthouse vaatli teen-slasher gerilim filmi It Follows’ta yan karakter sanki olup biten i\u00e7in bir \u00fcst hik\u00e2yeymi\u015f\u00e7esine (belki, k\u0131smen) Budala’y\u0131 okuyor ara ara romandan pasajlar seslendiriyordu.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

A.S. Byatt’\u0131n Dostoyevski’nin Budala roman\u0131n\u0131n yeni bir \u0130ngilizce \u00e7evirisi ard\u0131ndan The Guardian’da yazd\u0131\u011f\u0131 k\u0131sa inceleme yaz\u0131s\u0131n\u0131 \u00e7evirdim. Asl\u0131nda yaz\u0131da yeni \u00e7evirinin k\u00fclliyata katt\u0131klar\u0131ndan bahsetti\u011fi s\u00f6ylenemez. Roman\u0131n detaylar\u0131na girmeden \u00e7at\u0131s\u0131ndaki genel sorularla u\u011fra\u015f\u0131yor. Benim i\u00e7in biraz tesad\u00fcf oldu ama yine ka\u00e7\u0131n\u0131lmaz olarak “\u00f6l\u00fcm motifleri” ve b\u00fcy\u00fcs\u00fc bozulmu\u015f d\u00fcnyaya d\u00f6nd\u00fcm. Bunun yan\u0131 s\u0131ra Budala Prens \u00fczerinden iyili\u011fin … Continue reading A.S. Byatt, Budalalar\u0131n Prensi (\u00c7eviri)<\/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":[248,29,8],"tags":[649,591,650],"class_list":["post-3565","post","type-post","status-publish","format-standard","hentry","category-ceviri","category-elestiri","category-roman","tag-a-s-byatt","tag-budala","tag-fyodor-dostoyevski"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-Vv","jetpack-related-posts":[{"id":2813,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/10\/elif-batuman-budala-okuma-notlari\/","url_meta":{"origin":3565,"position":0},"title":"Elif Batuman | Budala (Okuma Notlar\u0131)","author":"yalpertem","date":"10 November 2019","format":false,"excerpt":"Budala, T\u00fcrkiye\u2019den ABD\u2019ye g\u00f6\u00e7m\u00fc\u015f bir ailenin k\u0131z\u0131 Selin\u2019in \u00fcniversitedeki ilk y\u0131l\u0131ndaki kar\u015f\u0131la\u015fmalar\u0131n\u0131 konu ediyor. 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