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T. Singer’\u0131n ilk ad\u0131 romanda ge\u00e7iyor muydu, hat\u0131rlam\u0131yorum. Onun ad\u0131 bilinse de bilinmese de roman otuzlar\u0131n\u0131n ortalar\u0131nda k\u00fct\u00fcphaneci olup Notodden kasabas\u0131na ta\u015f\u0131nan T. Singer’la a\u00e7\u0131l\u0131yor. Notodden’in n\u00fcfusu 1960’lardan kitab\u0131n yaz\u0131ld\u0131\u011f\u0131 d\u00f6neme kadar pek dalgalanmam\u0131\u015f, genelde 12-13 bin civar\u0131ndaym\u0131\u015f. Belki romandan sonra buraya g\u00f6\u00e7en birka\u00e7 ba\u015fka k\u00fct\u00fcphaneci olmu\u015ftur.<\/p>\n
B\u00f6ylesi bir romanla kar\u015f\u0131la\u015fan ve birka\u00e7 Bernhard kitab\u0131 okumu\u015f herkes benzer \u015feyi hemen d\u00fc\u015f\u00fcn\u00fcr herhalde, bana biraz kolayc\u0131l\u0131k gibi de geliyor ama bir \u015fekilde bu yazma bi\u00e7iminin temelini atm\u0131\u015f olarak bildi\u011fimden -onun devrald\u0131\u011f\u0131 miras varsa bilmiyorum-, \u00f6zellikle a\u00e7\u0131l\u0131\u015ftaki b\u00f6l\u00fcmler Thomas Bernhard’\u0131n yaz\u0131m tarz\u0131n\u0131 hat\u0131rlat\u0131yor hemen. Camille Bordas bu Bernhard benzetmelerinden \u015fikayet ediyordu<\/a>: “Bu s\u0131ra Amerika\u2019da pek \u00e7ok gen\u00e7 yazar Thomas Bernhard\u2019la k\u0131yaslan\u0131yor mesela, ben de b\u00fcy\u00fck bir Bernhard hayran\u0131y\u0131m, her seferinde buna d\u00fc\u015f\u00fcp bahis konusu kitaplar\u0131 heyecanla okuyor, sonras\u0131nda da aradaki ba\u011flant\u0131y\u0131 g\u00f6rmekte zorlan\u0131yorum”. T. Singer’da da biraz ilerledik\u00e7e bu durum k\u0131r\u0131l\u0131yor ve tekrar bu \u00fcsluba geri d\u00f6nm\u00fcyor anlat\u0131c\u0131. Bu a\u00e7\u0131dan par\u00e7a par\u00e7a bir roman diye d\u00fc\u015f\u00fcnd\u00fcm. A\u00e7\u0131l\u0131\u015fta T. Singer \u00e7ocuklu\u011funda ya\u015fad\u0131\u011f\u0131 utan\u00e7 dolu bir an\u0131 hat\u0131rl\u0131yor ve bunu kafas\u0131nda \u00e7e\u015fitli yerlerden d\u00f6n\u00fcp dola\u015farak tekrar tekrar kat ediyor. Benzer bir sarmal\u0131 romanc\u0131 olmay\u0131 d\u00fc\u015fleyip bir c\u00fcmle etraf\u0131nda d\u00f6nerken de ya\u015f\u0131yor. Fakat sonradan ya\u015fad\u0131\u011f\u0131 hi\u00e7bir deneyimde bu denli k\u0131l\u0131 k\u0131rk yaran sorgulamalara giri\u015fmiyor. O arada ne oluyor acaba… Yeti\u015fkin olmak diyebilir miyiz? Bu Bernhard’\u0131n karakterlerini yeti\u015fkin olamay\u0131\u015f girdab\u0131na \u00e7eker. Tabi buradaki yeti\u015fkinlik, genel ge\u00e7er yeti\u015fkinlik. Neyse, b\u00f6yle bir tarzdan ba\u015fka tarza kolayca yol alabilen romanlar okudu\u011fumda romanc\u0131n\u0131n kitab\u0131 bir b\u00fct\u00fcn olarak tasarlay\u0131p her par\u00e7ay\u0131 yerli yerine oturttu\u011funu de\u011fil, bir noktadan ba\u015flay\u0131p esinlenmelerle yol ald\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorum. Belki de bu g\u00f6zlem bir b\u00fct\u00fcn\u00fc kavrama sorunud\u0131r.<\/p>\n Blog’a kopyalad\u0131\u011f\u0131m g\u00f6zlemci pasaj\u0131nda<\/a> da bir giri\u015f yap\u0131ld\u0131\u011f\u0131 gibi, T. Singer hayatta faillikten \u00e7ok seyircili\u011fiyle var olmaya \u00e7al\u0131\u015fan karakterler soyundan. Otuzlar\u0131n\u0131n ortas\u0131na kadar ne yapaca\u011f\u0131na karar veremiyor, ge\u00e7ici i\u015flerle ve s\u00fcr\u00fcnd\u00fcrd\u00fc\u011f\u00fc e\u011fitimiyle var oluyor. \u00c7ok matah olmasa da bir karar diyebilece\u011fimiz bir s\u0131\u00e7ramayla birden bir kasabaya ta\u015f\u0131n\u0131p orada k\u00fct\u00fcphanecilik yapmaya ba\u015fl\u0131yor. Ara ara ekonomik olarak hayatta kalman\u0131n bu denli es ge\u00e7ilebilir ve tali bir \u015fey olarak an\u0131lmas\u0131na \u015fa\u015f\u0131yordum okurken ama hemen sonra bir Kuzey Avrupa romanc\u0131s\u0131yla ba\u015f ba\u015fa oldu\u011fumu fark ediyor, bu ki\u015fisel beklenti ve kayg\u0131lar\u0131m\u0131 ba\u015fka romanc\u0131lara biriktirerek saklamaya karar veriyordum. Son y\u0131llarda T\u00fcrkiye’de de iyiden iyiye \u00e7evrilmeye ve okunmaya ba\u015flanan Norve\u00e7 romanc\u0131lar\u0131n\u0131 derli toplu \u00e7al\u0131\u015fan birilerini bulursam okuyaca\u011f\u0131m. Ger\u00e7i yar\u0131s\u0131n\u0131n kendi kitaplar\u0131n\u0131 hen\u00fcz okumam\u0131\u015f\u0131m: Knausg\u00e5rd, Solstad, Petterson, Loe, Fosse.<\/p>\n Hat\u0131r\u0131mda kalan ya da okurken alt\u0131n\u0131 \u00e7izdi\u011fim fakat sonra geri d\u00f6n\u00fcnce neden \u00e7izdi\u011fimi hat\u0131rlamad\u0131\u011f\u0131m birka\u00e7 sayfay\u0131 not alay\u0131m sadece. Sonra da bakt\u0131\u011f\u0131m de\u011ferlendirme yaz\u0131lar\u0131ndan kopyalad\u0131\u011f\u0131m al\u0131nt\u0131lar\u0131 bu yaz\u0131n\u0131n ucuna eklerim. Olur bana pasti\u015f.<\/p>\n “Hem kendisini hem de ba\u015fkalar\u0131n\u0131, kendi yerinin tam bir s\u0131radanl\u0131k oldu\u011funa inand\u0131rm\u0131\u015ft\u0131, orada rahat ediyordu ve orada ba\u015fkalar\u0131yla e\u015fit d\u00fczlemde bulu\u015fabiliyordu.” (s. 19)<\/p>\n T. Singer gen\u00e7li\u011finde bir d\u00f6nem yazar olmaya heves ediyor. Yazarl\u0131k ilgisi ve \u00e7abas\u0131 tek bir c\u00fcmle etraf\u0131nda d\u00f6n\u00fcyor: “G\u00fczel bir g\u00fcnde, unutulmaz bir tabloyla g\u00f6z g\u00f6ze geldi”. Kahraman\u0131n bu c\u00fcmleyle verdi\u011fi m\u00fccadele bize epeyce kitap yazm\u0131\u015f ba\u015far\u0131l\u0131 bir yazar\u0131n kurgulad\u0131\u011f\u0131 bir anlat\u0131c\u0131n\u0131n a\u011fz\u0131ndan anlat\u0131ld\u0131\u011f\u0131 i\u00e7in pek incelikli. Sonu\u00e7ta T. Singer yazar olam\u0131yor. Bir c\u00fcmleyle b\u00f6ylesine uzun bir m\u00fccadele veren birisi yazar olamaz m\u0131 yoksa zaten ba\u015far\u0131l\u0131 bir yazar bu m\u00fccadeleyi anlat\u0131rken asl\u0131nda yazar olabilmi\u015f birinin g\u00f6z\u00fcnden m\u00fc g\u00f6r\u00fcr? Yani bir yazar yazar olamay\u0131\u015f\u0131 anlat\u0131rken ne derece ba\u015far\u0131l\u0131 olabilir? Ba\u015far\u0131s\u0131 bir yana, bu c\u00fcmlenin etraf\u0131nda d\u00f6nen sorular bir c\u00fcmle yazmaya dair g\u00fczel bir yak\u0131n okuma \u00e7al\u0131\u015fmas\u0131. Inc\u0131\u011f\u0131n\u0131 c\u0131nc\u0131\u011f\u0131na kadar soruyor ve \u00e7e\u015fitliyor g\u00fczel g\u00fcn\u00fc, unutulmazl\u0131\u011f\u0131 ve tabloyu. Pamuk’un me\u015fhur a\u00e7\u0131l\u0131\u015f c\u00fcmlesi de bu tablonun kitap versiyonu gibiydi. Fakat T. Singer’in hayat\u0131 bu tablo fikriyle de\u011fi\u015fmiyor, c\u00fcmlenin etraf\u0131nda dola\u015f\u0131rken “ama\u00e7s\u0131z bir gen\u00e7 adam olarak ba\u015fkalar\u0131n\u0131n ‘en zengin y\u0131llar\u0131’ diye nitelendirdi\u011fi zaman\u0131n\u0131 harcay\u0131p dur[uyor]”. (s. 31) Zaman\u0131n ge\u00e7ti\u011fini fark etmiyor.<\/p>\n K\u00fct\u00fcphaneci olarak \u00e7al\u0131\u015fmaya ba\u015flayaca\u011f\u0131 Notodden’e trenle gidiyor. Y\u0131llarca harcamalar\u0131na \u00f6zen g\u00f6stermi\u015f olsa da birden o trenin yemekli vagonunda rahat\u00e7a oturmaya ve sandvi\u00e7 yiyip kahve i\u00e7meye karar veriyor. \u0130nsan b\u00f6yle kararlar verdi\u011finde kar\u015f\u0131la\u015fmalara a\u00e7\u0131l\u0131yor. Orada zor zamanlar\u0131n y\u00f6neticisi, Norsk Hydro’nun m\u00fcd\u00fcr\u00fc Adam Eyde’yle tan\u0131\u015f\u0131yor ve okurlara 20. y\u00fczy\u0131l\u0131n ba\u015flang\u0131c\u0131ndan sonuna bir Notodden tarihinin kap\u0131s\u0131 aralan\u0131yor.<\/p>\n B\u00f6yle sayfa sayfa gidip ald\u0131\u011f\u0131m notlar\u0131 blog’a aktarmak bekledi\u011fim deneyimi yaratmad\u0131. Burada kesip, daha \u00f6nce kesti\u011fim al\u0131nt\u0131lar\u0131 yap\u0131\u015ft\u0131ray\u0131m. Daha T. Singer k\u00fct\u00fcphanede hayat\u0131n\u0131n a\u015fk\u0131n\u0131 bulacak, Oslo’ya ta\u015f\u0131nacak.<\/p>\n “Sloshing back vast quantities of booze, Singer listens as the boss delivers an epic lecture on the history of his company, the region and the relationship between philosophy and industry.”\u00a0 [guardian]<\/p>\n Drifter characters – “Singer is very similar to Solstad\u2019s other narrators and protagonists who drift through the novels” [guardian]<\/p>\n “Wherever they start, Solstad\u2019s characters find a way to establish themselves in a low-key, middle-aged life in which melancholy and contentment are almost indistinguishable.” [guardian]<\/p>\n “The Solstadian long sentence feeds back into itself, meandering with the aimless inevitability of a river heading towards the sea.” [guardian]<\/p>\n Bernhard’\u0131 latif bir yazar olarak g\u00f6rmeyiz, fakat Solstad’ta bu var. Tarz\u0131 bu kadar benzerken onu Bernhard’tan ay\u0131ran nokta nerede? Kitab\u0131n a\u00e7\u0131l\u0131\u015f\u0131 olduk\u00e7a Bernhard-vari iken ilerledik\u00e7e o etki kayboluyor, s\u00fcreksiz de olsa kendine has bir ritim buluyor. Sorgulay\u0131\u015flar azal\u0131yor, ya\u015fama kendini b\u0131rakma bask\u0131n hale geliyor.<\/p>\n \u0130nsan temelde birka\u00e7 sorunu olan bir varl\u0131k m\u0131d\u0131r? Bunu kendi \u00fczerimden de anlamaya \u00e7al\u0131\u015f\u0131yorum. Ya\u015fam binbir \u00e7e\u015fitlilikle s\u00fcr\u00fcp gidiyor, eninde sonunda ya\u015famdan geriye belirleyici g\u00fc\u00e7 olarak birka\u00e7 \u015fey mi kal\u0131yor yoksa bu insan ya\u015fam\u0131n\u0131 birka\u00e7 y\u00fcz sayfada anlatmaya \u00e7al\u0131\u015fan roman\u0131n mecburen indirgemek zorunda kald\u0131\u011f\u0131 k\u00fcmeden kaynaklanan bir ill\u00fczyon mu? Yine de insanlar\u0131n birka\u00e7 temel meseleyle u\u011fra\u015farak bir \u00f6m\u00fcr ge\u00e7irmeleri fikrini trajik ve estetik buluyorum.<\/p>\n “At one point Singer notices how a certain couple \u201cshared the same perception of reality\u201d. Solstad\u2019s construction of reality is uniquely his own. That may be why the writer Lydia Davis taught herself Norwegian solely by reading his work.” [guardian]<\/p>\n “Thus it is not surprising that in his book he tilts the question from \u201cWhat makes a good writer?\u201d to a different one: \u201cWhat makes a good hero for a novel?\u201d How can the account of the \u201cman without qualities\u201d be updated for a new generation?” [worldliteraturetoday]<\/p>\n “Solstad\u2019s style of writing is deceptively simple and can best be described as \u201chonest\u201d: winding clauses of sentences, decidedly minimalistic in their vocabulary and devoid of any metaphoric digressions, designed solely to explain, as clearly as possible, the mechanisms of the strange and yet deeply human workings of Singer\u2019s mind.” [worldliteraturetoday]<\/p>\n “To be sure, in this novel, the twenty-first century appears to be still light-years away.” [worldliteraturetoday]<\/p>\n Solstad repeatedly mentions this case but the reviewer only mentions a single instance: “Solstad breaks the fourth wall to tell us that he\u2019s not going to tell us much more about Merete: “She is not the main character in this novel; it\u2019s doubtful that she could have been the main character in any novel of a certain quality.” [kirkus]<\/p>\n Coping with life: “Singer is, let us say, not adept at coping; as Solstad writes, it\u2019s hard to imagine that he, too, “can be the main character in any novel at all, regardless of quality.” [kirkus]<\/p>\n Protagonist’ self description – what would be the difference if the author wrote this: “As a stepfather, the trials he endures are wrestled with, at great length. Says Singer: \u2018It\u2019s certainly not easy being me.” [eurolitnetwork]<\/p>\n “Characteristically, Solstad gets hold of an idea and worries it like a dog with a bone…” [eurolitnetwork]<\/p>\n “This relaxed feeling \u2013 \u2018he has air\u2019, Peter Handke has said \u2013 is equally evident when Solstad the narrator wanders into postmodern territory.” [eurolitnetwork]<\/p>\n Handke & Davis likes Solstad: “Little wonder Peter Handke and Lydia Davis \u2013 tellingly, two authors whose own creations reward the reader for savouring and reading slowly, rather than succumbing to page-turning \u2013 have declared themselves enamoured with the books of Dag Solstad. I\u2019d like to join them.” [eurolitnetwork]<\/p>\n Nonengagement – Bartleby: Also”Solstad\u2019s unusual, entertaining novel of restrained humor follows its protagonist, T Singer, over a lifetime of nonengagement. Singer is something of a Bartleby whose neuroses compel him to retreat from life …” [publishersweekly]<\/p>\n “The novel brilliantly shows the humor and pain of obsessiveness, and the anxious, analytic Singer emerges as an enduring creation.” [publishersweekly]<\/p>\n “Passages are important to Solstad in this novel: he details travel-routes and possible alternative ones. There’s rarely just one way of getting\u00a0there<\/i> (wherever), and each possible route — from Oslo to Notodden; from Singer’s home to to his workplace; through the streets of Oslo; travelling by rail or road or foot — present alternatives, paths (and, implicitly also destinies) not taken, even if the apparent destination remains the same.” [complete-review]<\/p>\n “His life is straightforward and fairly bland, his major concerns limited to things like avoiding some of the library’s patrons who particularly appreciate his assistance, and figuring out how to ensure that he can catch the movies he wants at the local cinema.” [complete-review]<\/p>\n
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