{"id":4704,"date":"2022-01-06T00:17:56","date_gmt":"2022-01-05T21:17:56","guid":{"rendered":"https:\/\/yalpertem.com\/blog\/?p=4704"},"modified":"2024-02-04T21:16:00","modified_gmt":"2024-02-04T20:16:00","slug":"asiri-sagin-kahini-houellebecq-ceviri","status":"publish","type":"post","link":"https:\/\/yalpertem.com\/blog\/2022\/01\/06\/asiri-sagin-kahini-houellebecq-ceviri\/","title":{"rendered":"A\u015f\u0131r\u0131 Sa\u011f’\u0131n Kahini (\u00c7eviri)"},"content":{"rendered":"

Martin Gelin’in Boston Review’da 14 May\u0131s 2020’de yay\u0131mlanan The Prophet of the Far Right<\/em><\/a> makalesini \u00e7evirdim. Yaz\u0131da Michel Houellebecq’in d\u00fc\u015f\u00fcnsel k\u00f6klerini Fransa’dan alan ve yak\u0131n zamanda ABD’de \u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131n\u0131 iddia etti\u011fi g\u00fcncel muhafazakarl\u0131kla ili\u015fkisini ele al\u0131yor. Entelekt\u00fcel ortamlarda paye verilmesi zor bu pozisyona ra\u011fmen Houellebecq’in edebiyat d\u00fcnyas\u0131nda de\u011fer g\u00f6rmesini hem kendisinin hem de genel anlamda bu ideolojinin i\u00e7erdi\u011fi anti-kapitalist unsurlara ba\u011fl\u0131yor. Referanslar\u0131 daha \u00e7ok S\u00e9rotonine <\/em>roman\u0131ndan ve ABD ba\u011flam\u0131ndan. Epeydir yazar\u0131n sa\u011fc\u0131l\u0131\u011f\u0131na dair bir metin okumak istiyordum, \u015fimdilik \u00e7evirip rahatlad\u0131m.<\/p>\n

Houellebecq’in okudu\u011fum ilk roman\u0131 Harita ve Topraklar<\/em>, Zincirlikuyu’dan Yenibosna’ya gitti\u011fim karanl\u0131k sabahlarda Metrob\u00fcs’\u00fc kafamda bir r\u00fcya mekan\u0131na \u00e7evirmi\u015fti. Sonra Ku\u015fat\u0131lm\u0131\u015f Ya\u015famlar<\/em> ve Temel Par\u00e7ac\u0131klar<\/em>‘\u0131 okudum. Soumission’<\/em>u \u0130thaki 2021’de yay\u0131mlam\u0131\u015f, \u0130taat (<\/em>gecikmeli olarak bunu da okudum). Can Yay\u0131nlar\u0131 Houellebecq basmay\u0131 b\u0131rakt\u0131\u011f\u0131nda bu \u0130slamofobik yazar art\u0131k T\u00fcrkiye’de \u00e7evrilmeyecek diye d\u00fc\u015f\u00fcnm\u00fc\u015ft\u00fcm. S\u00e9rotonine’<\/em>i okuyunca tekrardan yazar hakk\u0131ndaki metinlere bakmak istemi\u015ftim.<\/p>\n

Bu blog’a ara ara kendi yazd\u0131\u011f\u0131 metinlerden k\u0131sa par\u00e7alar ya da ba\u015fkalar\u0131n\u0131n onun hakk\u0131nda yazd\u0131klar\u0131n\u0131 ili\u015ftiriyordum<\/a>. Yaz\u0131y\u0131 \u00e7evirirken akl\u0131ma Nevzat Kaya’n\u0131n sa\u011fc\u0131\/muhafazakar yazarlar romanda daha iyidir<\/a> arg\u00fcman\u0131 geldi. Thomas Mann’\u0131 ve Gottfried Benn’i \u00f6rnekliyor orada, tam da bu yaz\u0131da da bahsedilen “yitirdi\u011fimiz cennetler”den bahsediyordu fakat Gelin’in aksine bir samimiyet buluyordu bu yazarlarda. Houellebecq de Temel Par\u00e7ac\u0131klar’da<\/a> ’68’den g\u00fcn\u00fcm\u00fcze kalan nadir yazarlardan Sollers’in a\u011fz\u0131ndan alter-ego karakterine “Tutucusunuz, \u00e7ok iyi. B\u00fct\u00fcn b\u00fcy\u00fck yazarlar tutucudur. Balzac, Flaubert, Baudelaire, Dostoyevski: yaln\u0131zca tutucular.” dedirtiyordu.<\/p>\n

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Ge\u00e7ti\u011fimiz y\u0131llarda Frans\u0131z yazar Michel Houellebecq yaln\u0131zca bir romanc\u0131 olarak edebi ustal\u0131\u011f\u0131yla de\u011fil, daha s\u0131kl\u0131kla, s\u00f6zde bir siyasi kahin olmaktaki ba\u015far\u0131s\u0131yla \u00f6v\u00fcld\u00fc. Hakk\u0131nda yaz\u0131lan incelemeler onun insel k\u00fclt\u00fcr\u00fcn\u00fcn do\u011fu\u015fu, Frans\u0131z Sar\u0131 Yelekliler hareketi ve Avrupa’n\u0131n demografik d\u00f6n\u00fc\u015f\u00fcm\u00fcne dair panik uyand\u0131ran tepkiler gibi konularda \u00f6ng\u00f6r\u00fclerde buldu\u011funu iddia etti. Bunal\u0131mda bir Frans\u0131z ziraat uzman\u0131 hakk\u0131ndaki son roman\u0131 Serotonin<\/em>, 2019’da Avrupa’da yay\u0131mland\u0131\u011f\u0131nda UK Sunday Times<\/em> ve bir\u00e7ok ba\u015fka kaynak onu sanki bir kurmaca d\u0131\u015f\u0131 eser yazm\u0131\u015f\u00e7as\u0131na tarif etti, roman\u0131 “Frans\u0131z k\u0131rsal\u0131nda \u00e7oktand\u0131r s\u00fcregelen \u00f6fkeye dikkat \u00e7eki\u015fi”nden dolay\u0131 \u00f6vd\u00fc. O s\u0131rada Telegraph<\/em> “Bat\u0131 uygarl\u0131\u011f\u0131n\u0131n trajik kaderini \u00f6ng\u00f6rmek”teki b\u00fcy\u00fcl\u00fc yetene\u011finden bahsetti. Muhafazakar National Review<\/em> daha ileri gitti, bunu bir “Houellebecq\u00e7i u\u011frak” olarak adlan\u0131rd\u0131 ve zafer kazanm\u0131\u015f\u00e7as\u0131na Frans\u0131z yazar\u0131n d\u00fc\u015f\u00fcncelerine “toplumun yeni yeni yeti\u015fmekte oldu\u011fu”nu ilan etti.<\/p>\n

Ge\u00e7en hafta, Radio France’a yazd\u0131\u011f\u0131 a\u00e7\u0131k mektupta<\/a>, Houellebecq COVID-19 pandemi tart\u0131\u015fmalar\u0131na dahil oldu. Frans\u0131z solundan gelen, pandeminin mevcut iktidar yap\u0131lar\u0131n\u0131 anlaml\u0131 bir \u015fekilde yeniden de\u011ferlendirilmesine yol a\u00e7abilece\u011fini \u00f6ng\u00f6ren fikirleri reddetti. Aksine, Houellebecq pandeminin y\u0131llard\u0131r Bat\u0131 uygarl\u0131\u011f\u0131n\u0131n insanl\u0131ktan \u00e7\u0131kar\u0131c\u0131 ve \u00e7\u00fcr\u00fcm\u00fc\u015f yanlar\u0131 olarak de\u011ferlendirdi\u011fi teknolojik ak\u0131mlar\u0131 \u2014se\u00e7-izle platformlar\u0131ndan temass\u0131z \u00f6demeye\u2014 t\u00fcm\u00fcyle \u015fiddetlendirmesinin daha olas\u0131 oldu\u011funu d\u00fc\u015f\u00fcn\u00fcn\u00fcyordu. “Soka\u011fa \u00e7\u0131kma yasaklar\u0131ndan sonra yeni bir d\u00fcnyaya uyanmayaca\u011f\u0131z. Ayn\u0131s\u0131na uyanaca\u011f\u0131z, sadece biraz daha k\u00f6t\u00fcs\u00fcne,” diye yazd\u0131. Mektuba kendine has i\u00e7tenli\u011fiyle, pandeminin “ayn\u0131 anda hem \u00fcrpertici hem de s\u0131k\u0131c\u0131 olmaktaki etkileyici ba\u015far\u0131s\u0131”yla son verdi.<\/p>\n

A\u00e7\u0131k\u00e7a politik romanlar yazan ve mektubunda cesur iddialardan \u00e7ekinmeyen birisi olarak Houellebecq, yazd\u0131klar\u0131yla destekledi\u011fi tart\u0131\u015fmal\u0131 siyasi pozisyonlara kamusal olarak angaje olma hususunda \u015fa\u015f\u0131rt\u0131c\u0131 derecede \u00e7ekingen bir tav\u0131r sergiliyor. \u00d6rne\u011fin, Frans\u0131z h\u00fck\u00fcmetinin \u0130slamc\u0131lar taraf\u0131ndan ele ge\u00e7irilmesini betimleyen roman\u0131 Submission<\/em> 2015 y\u0131l\u0131nda yay\u0131mland\u0131\u011f\u0131nda, Paris Review’<\/em>da \u00e7\u0131kan uzun s\u00f6yle\u015fide, yazar Sylvain Bourmeau, Houellebecq’e romanda ifade etti\u011fi provokatif d\u00fc\u015f\u00fcncelerle ilgili sorular sormu\u015ftu. Fakat Houellebecq bu sorular\u0131 bir kamusal entelekt\u00fcelden ziyade Kellyanne Conway [1] gibilerle daha \u00e7ok ili\u015fkilendirebilece\u011fim bir ka\u00e7\u0131nma yetene\u011fiyle atlatt\u0131.<\/p>\n

Yine de onun siyasi g\u00f6r\u00fc\u015flerine dair spek\u00fclasyon yapmam\u0131za gerek yok. Biriken k\u00fclliyat\u0131 ve y\u0131llar i\u00e7indeki s\u00f6yle\u015fileriyle, “muhtemelen” \u0130slamofobik oldu\u011funu iddia eden, gururlu bir ba\u011fnaz anti-feminist profil beliriverdi. Ge\u00e7en y\u0131l Harper’s<\/em> i\u00e7in Donald Trump’\u0131n “\u015fimdiye dek g\u00f6rd\u00fc\u011f\u00fc” en iyi ABD ba\u015fkanlar\u0131ndan oldu\u011fu \u00f6vg\u00fcs\u00fcn\u00fc i\u00e7eren bir deneme yazd\u0131, Brexit savunucular\u0131n\u0131n “cesaretlerinin yads\u0131namayaca\u011f\u0131n\u0131” s\u00f6yledi. Ge\u00e7en yaz Danimarka’daki Louisiana Edebiyat Festivali’<\/em>nde sahneye \u00e7\u0131kt\u0131\u011f\u0131nda Frans\u0131z a\u015f\u0131r\u0131-sa\u011f\u0131ndan yazarlara olan hayranl\u0131\u011f\u0131n\u0131 detayl\u0131ca anlatt\u0131.<\/p>\n

B\u00fct\u00fcn bu g\u00f6r\u00fc\u015flerine ra\u011fmen, Avrupa’da ve ABD’de soldaki bir\u00e7ok yazar ve d\u00fc\u015f\u00fcn\u00fcr taraf\u0131ndan tolere edilmekle kalmay\u0131p geni\u015f \u00f6l\u00e7\u00fcde hayranl\u0131k beslenen biri olarak kalmay\u0131 ba\u015fard\u0131. Bunun bir sebebi Houellebecq’in sadece gerici de\u011fil, ayn\u0131 zamanda modern kapitalizme ele\u015ftirel olmas\u0131ndan kaynaklan\u0131yor olabilir. 1990’lardaki erken d\u00f6nem \u015fiirlerinden g\u00fcncel romanlar\u0131na, b\u00fct\u00fcn eserlerinde s\u00fcregelen bir g\u00fcncel neoliberal toplum, serbest ticaret kapitalizmi ve radikal bireycilik ele\u015ftirisi var. Houellebecq’in kahramanlar\u0131 sosyal liberalizmin serbestisinden nefret ederken ayn\u0131 zamanda modern t\u00fcketim k\u00fclt\u00fcr\u00fcn\u00fcn homojenli\u011finden, Carrefour Express s\u00fcpermarketlerindeki otomasyona ba\u011flanm\u0131\u015f \u00f6deme kasalar\u0131ndan ve alelade i\u015f otellerinin orta \u00f6l\u00e7ekli kasabalar\u0131n park yerlerine yukar\u0131dan bak\u0131\u015f\u0131ndan da nefret ediyorlar.<\/p>\n

Houellebecq’e insellerin, sar\u0131 yeleklilerin ve \u0130slamofobinin y\u00fckseli\u015fini \u00f6ng\u00f6rmek konusunda haddinden fazla \u00f6nem atfedilmi\u015f olsa da, ye\u015fermekte olan anti-kapitalist muhafazakarl\u0131\u011f\u0131 \u00f6nceden g\u00f6rmesi konusunda yeterli takdir verilmedi. Bu hususta Pat Buchanan [2] gibi Amerikan paleomuhafazakarlar\u0131n ideolojik kayg\u0131lar\u0131n\u0131 payla\u015f\u0131yor. Ayn\u0131 zamanda, k\u00fcreselle\u015fen serbest piyasan\u0131n ve \u00e7ok uluslu sermayenin tahrip etti\u011fi ve “banliy\u00f6le\u015ftirdi\u011fi” kentsel peyzaj\u0131 y\u00fcksek sesle ele\u015ftiren beyaz milliyet\u00e7i entelekt\u00fcellerle de ortakl\u0131klar\u0131 var. \u015eimdilerde Tucker Carlson [3], k\u00fcreselle\u015fmenin ikiz kabusu diye adland\u0131rd\u0131\u011f\u0131 g\u00f6\u00e7 ve k\u00fcresel kapitalizme her gece sald\u0131r\u0131yor.<\/p>\n

Bu kayg\u0131lar kendilerine “ulusal muhafazakarlar” diyen, a\u015f\u0131r\u0131-sa\u011fc\u0131 Cumhuriyet\u00e7iler ve pop\u00fclistlerden olu\u015fan yak\u0131n zamanda ortaya \u00e7\u0131km\u0131\u015f bir grubu tan\u0131ml\u0131yor. Washington D.C.’de, 2019’daki konferanslar\u0131n\u0131n a\u00e7\u0131l\u0131\u015f t\u00f6reninde, hakaretleri sadece sa\u011f\u0131n geleneksel hedeflerine de\u011fil, ayn\u0131 zamanda da b\u00fcy\u00fck \u015firketlere, kentsel homojenle\u015fmeye, t\u00fcketimcili\u011fe ve serbest piyasa kapitalizminin kendisine d\u00f6nm\u00fc\u015ft\u00fc. Konferanstan sonra Jennifer Schuessler’in\u00a0New York Times’<\/em>ta yazd\u0131\u011f\u0131 \u00fczere:<\/p>\n

Muhafazakarlar hep ideallerden yola \u00e7\u0131kmakla \u00f6v\u00fcnd\u00fcler, buradaki b\u00fcy\u00fck fikirse, y\u0131llarca egemen olan serbest piyasaya dayal\u0131 muhafazakarl\u0131\u011f\u0131n, libertaryen ekonominin ve askeri m\u00fcdahalecili\u011fin enerjisini t\u00fcketmesiyle, milliyet\u00e7ili\u011fin \u2014daha karanl\u0131k birlikteliklerinden k\u0131rp\u0131larak\u2014bir entelekt\u00fcel sancak sunabilece\u011fiydi.<\/span><\/p><\/blockquote>\n

Kurumsal kapitalizmle aras\u0131 a\u00e7\u0131k bir muhafazakarl\u0131k ABD’de yeni bir olgu fakat Fransa’daki k\u00f6kleri derinlerde yat\u0131yor. 1968’in sol isyanlar\u0131n\u0131 takiben yeni sa\u011f Fransa’da bir kar\u015f\u0131 devrimci kuvvet olarak ortaya \u00e7\u0131kt\u0131. Hareketin ana d\u00fc\u015f\u00fcn\u00fcr\u00fc Alain de Benoist serbest piyasa kapitalizmine, \u00e7okk\u00fclt\u00fcrc\u00fcl\u00fc\u011fe ve Frans\u0131z ile Amerikan devrimlerini birbirine ba\u011flayan h\u00fcmanizme kar\u015f\u0131tt\u0131. Di\u011fer taraftan milliyet\u00e7ili\u011fi ve milli birli\u011fi, ba\u011f\u0131ms\u0131z b\u00f6lgesel k\u00fclt\u00fcrleri ve etnik ayr\u0131l\u0131k\u00e7\u0131l\u0131\u011f\u0131 \u015fiddetle savunuyordu. Yak\u0131nlarda, de Benoist art\u0131k kendini sa\u011fdan \u00e7ok sol ile tan\u0131mlad\u0131\u011f\u0131n\u0131 ve 2016 ABD se\u00e7imlerinde Donald Trump yerine Bernie Sanders’\u0131 desteklemeyi tercih etti\u011fini a\u00e7\u0131klad\u0131 ama etki alan\u0131 genelde beyaz milliyet\u00e7iler ve a\u015f\u0131r\u0131 sa\u011f \u00e7evreleriyle k\u0131s\u0131tl\u0131 kalmaya devam ediyor. S\u0131kl\u0131kla a\u015f\u0131r\u0131 sa\u011f web siteleriyle s\u00f6yle\u015filer yap\u0131yor. 2013’te beyaz milliyet\u00e7i bir organizasyon olan National Policy Institute’un Washington D.C.’deki bir konferans\u0131nda a\u00e7\u0131l\u0131\u015f konu\u015fmac\u0131s\u0131 olmu\u015ftu. Steve Bannon, de Benoist’y\u0131 kendi d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fc \u015fekillendirdi\u011fi i\u00e7in \u00f6vg\u00fcyle and\u0131.<\/p>\n

De Benoist i\u00e7in, Houellebecq’te oldu\u011fu gibi, 1968’de Fransa’da \u00e7\u00f6k\u00fc\u015f ba\u015flad\u0131. Ge\u00e7en y\u0131l bir a\u015f\u0131r\u0131 sa\u011f web sitesi olan Counter Currents’<\/em>a verdi\u011fi s\u00f6yle\u015fide \u015f\u00f6yle diyor:<\/p>\n

Ayn\u0131 anda iki ’68 oldu\u011funu g\u00f6zlemlemeliyiz. Bunu iki b\u00fcy\u00fck ideoloji tan\u0131mlad\u0131. ’68 hareketinde benim de de\u011fer verdi\u011fim bir kanat vard\u0131: Sit\u00fcasyonistler, Guy Debord gibi, Henri Lefebvre ve Jean Baudrillard’\u0131n \u00f6\u011frencileri… Bunlar kapitalizmin, g\u00f6steri toplumunun ve t\u00fcketim mant\u0131\u011f\u0131n\u0131n radikal bir ele\u015ftirisini sundular. Ne yaz\u0131kki, harekete egemen olan bu tabaka de\u011fildi. Aksine, temel karakteristikleri otorite reddi olan liberal, bireyci ve hazc\u0131 unsurlar etkinlik kazand\u0131. Arzuya dayal\u0131 ideolojilerinin ger\u00e7ekle\u015ftirilmesi i\u00e7in t\u00fcketim toplumunun en iyi ortam\u0131 sundu\u011funu \u00e7abucak fark edip kolayca sistemin i\u00e7ine yerle\u015ftiler. Fakat ho\u015fg\u00f6r\u00fcs\u00fczl\u00fcklerini ve otorite kar\u015f\u0131tl\u0131\u011f\u0131 zihniyetlerini korudular. Bu da birincil olarak \u00f6l\u00e7\u00fclemez hasar\u0131 e\u011fitim sistemine verdi. E\u011fitim, ’68’in ideolojisiyle adeta yok edildi.<\/span><\/p><\/blockquote>\n

De Benoist’n\u0131n serbest piyasa kapitalizmine olan nefreti temelde onun ulusal kimli\u011fi ve b\u00f6lgesel k\u00fclt\u00fcr\u00fc yok edece\u011fine dair korkusundan temelleniyordu. Frans\u0131z bir \u015fekilde, kabus toplumuna dair fikirlerini “herkesin Brooklyn’de hamburger yedi\u011fi” bir yer olarak tasvir ediyordu. Milliyet\u00e7ilere g\u00f6re elbette b\u00fct\u00fcn sorunlar d\u0131\u015far\u0131dan gelir. Fransa’n\u0131n yeni sa\u011f\u0131n\u0131n anti-Amerikanc\u0131l\u0131\u011f\u0131 k\u00fcresel serbest piyasa kapitalizmini, sanki k\u00fcresel ticaretin kendisi Atlanti\u011fin \u00f6te yan\u0131ndan gelen bir vir\u00fcsm\u00fc\u015f\u00e7esine, ABD \u015firketleriyle e\u015fledi. ABD’de ulusal muhafazakarlar ise bir yanda fabrikalar\u0131n, k\u00f6m\u00fcr madenlerinin ve k\u00fc\u00e7\u00fck i\u015fletmelerin saf ABD giri\u015fimci kapitalizmi; \u00f6te yandaysa belli belirsiz “k\u00fcreselciler” olarak tan\u0131mlanan \u00c7inli oligarklar ve yanda\u015flar\u0131n\u0131n ya da o anda hangi anti-Semit kli\u015fe daha elveri\u015fliyse onlar\u0131n y\u00f6netti\u011fi bir m\u00fcdahaleci uluslararas\u0131 kapitalizmin oldu\u011fu benzer bir anlat\u0131 olu\u015fturuyora benziyor.<\/p>\n

Houellebecq bu fikirlere ba\u011flanan nadir birka\u00e7 ana ak\u0131m \u00e7a\u011fda\u015f romanc\u0131dan biri. Ayn\u0131 zamanda kurmaca edebiyatta kitaplar\u0131 k\u00fcresel politik tart\u0131\u015fmalara dair bilgiler i\u00e7eren birka\u00e7 yazardan birisi. Radikal ve s\u0131kl\u0131kla gerici fikirlerini ana ak\u0131m s\u00f6yleme s\u0131k\u0131\u015ft\u0131rmaktaki g\u00fcc\u00fcn\u00fc g\u00f6z ard\u0131 etmek edebiyat\u0131n g\u00fcc\u00fcn\u00fc hafife almak anlam\u0131na gelir.<\/p>\n

Houellebecq\u2019in Serotonin’indeki bunal\u0131mda ve iktidars\u0131z k\u0131rk alt\u0131 ya\u015f\u0131ndaki kahraman Florent-Claude Labrouste, ge\u00e7mi\u015fte Monsanto ve Frans\u0131z ziraat bakanl\u0131\u011f\u0131nda \u00e7al\u0131\u015fm\u0131\u015f. \u015eimdiyse, ac\u0131mas\u0131z k\u00fcresel kurumsal ekonominin hem bir par\u00e7as\u0131 hem de ele\u015ftirmeni. Noel zaman\u0131 \u00e7aresiz yaln\u0131zl\u0131\u011f\u0131ndan ka\u00e7mak i\u00e7in Normandiya k\u0131rsal\u0131na, soyu ge\u00e7en bin y\u0131ldan aristokrasiye dayanan otel sahibi dostu Aymeric d\u2019Harcourt-Olonde ile g\u00f6r\u00fc\u015fmeye gidiyor. \u015eimdilerde faturalar\u0131n\u0131 zorla \u00f6d\u00fcyor, geceleriniyse ucuz votkayla sarho\u015f olarak, bir yandan da Avrupa Birli\u011fi’nin ticaret politikas\u0131na dair at\u0131p tutarak ge\u00e7iriyor. \u0130\u015fi ve evlili\u011fi sonunda ba\u015far\u0131s\u0131zl\u0131\u011fa u\u011frad\u0131\u011f\u0131nda, ele\u015ftirmenlerin Houellebecq’i kahinvari bir \u015fekilde kurmaca Sar\u0131 Yelekliler \u00f6ng\u00f6r\u00fcs\u00fcnde bulundu\u011fu pop\u00fclist bir ayaklanmaya kat\u0131l\u0131yor. Asl\u0131nda d\u2019Harcourt-Olonde \u00e7ok a\u00e7\u0131k bir \u015fekilde, Charlemagne zamanlar\u0131na giden bir miras devralm\u0131\u015f bir adam olarak tasvir ediliyor. Onun m\u00fclks\u00fczle\u015fme korkusunu Sar\u0131 Yelekliler’e g\u00fc\u00e7 veren i\u015f\u00e7i s\u0131n\u0131f\u0131 \u00f6fkesiyle kar\u0131\u015ft\u0131rmamak gerekir. Bu s\u0131n\u0131f ayr\u0131mlar\u0131, her t\u00fcrl\u00fc k\u0131rsal \u00f6fkesini do\u011fas\u0131 gere\u011fi i\u015f\u00e7i s\u0131n\u0131f\u0131na yoran baz\u0131 Amerikal\u0131 ele\u015ftirmenlerce yanl\u0131\u015f anla\u015f\u0131lm\u0131\u015f gibi g\u00f6r\u00fcn\u00fcyor.<\/p>\n

Romanda ayn\u0131 zamanda Florent-Claude’un, arkada\u015f\u0131n\u0131n Fransa k\u0131rsal\u0131ndaki \u00e7ift\u00e7ileri kurtarmak i\u00e7in \u00f6nerdi\u011fi korumac\u0131 ticaret politikalar\u0131n\u0131 payla\u015ft\u0131\u011f\u0131na ve bir ziraat dan\u0131\u015fman\u0131 olarak ba\u015fka bir toplum fikrini savunma \u00e7abalar\u0131na da tan\u0131k oluyoruz.<\/p>\n

Daima<\/span> makul koruma \u00f6nlemleri ve ekonomik olarak uygulanabilir k\u0131sa devre ger\u00e7ek\u00e7i rakamlar sunuyordum, fakat ben sadece bir tar\u0131m uzman\u0131, bir teknisyendim, ve g\u00fcn\u00fcn sonunda <\/span><\/em>daima<\/span> hatal\u0131 oldu\u011fumu s\u00f6yl\u00fcyorlard\u0131, g\u00fcn\u00fcn sonunda <\/span><\/em>daima<\/span> her \u015fey gelip serbest piyasan\u0131n zaferine ve daha y\u00fcksek bir \u00fcretkenlik i\u00e7in bir yar\u0131\u015fa dayand\u0131r\u0131l\u0131yordu.<\/span><\/em><\/p><\/blockquote>\n

\u0130talik ifadeler yazara ait, ba\u015fka bir ekonomiye dair beyhude bir m\u00fccadeleye dair bir karamsarl\u0131\u011f\u0131n yan\u0131 s\u0131ra siyasal \u00e7aresizlik ve g\u00fc\u00e7s\u00fczl\u00fc\u011fe dair derinden bir duyguyu a\u00e7\u0131\u011fa vuruyor. Sonu\u00e7 olarak, Florent-Claude y\u0131k\u0131l\u0131yor ve hayk\u0131r\u0131yor: “Ben kimim ki d\u00fcnyan\u0131n gidi\u015fat\u0131n\u0131 de\u011fi\u015ftirebilece\u011fimi hayal ettim?” Houellebecq’in anlat\u0131c\u0131lar\u0131 mesafeli sinizmleriyle bilinirler fakat Florent-Claude ayn\u0131 zamanda daha iyi bir d\u00fcnyay\u0131 d\u00fc\u015fleyen a\u011f\u0131rba\u015fl\u0131 bir idealist.<\/p>\n

Ayn\u0131 zamanda, k\u0131z arkada\u015f\u0131 Yuzu’dan ayr\u0131ld\u0131ktan sonra \u00e7aresizce yaln\u0131z. Yuzu ba\u015fka erkeklerle orjiler kaydederken Florent-Claude kitap boyunca benzin istasyonunda kar\u015f\u0131la\u015ft\u0131\u011f\u0131 kot \u015fortlu gen\u00e7 kad\u0131na dair hayaller kuruyor. G\u00fcndelik mizojinisi bu noktada tahmin edilebilir d\u00fczeyde fakat verdi\u011fi detaylar bize bug\u00fcn altm\u0131\u015f \u00fc\u00e7 ya\u015f\u0131nda olan Houellebecq’in cinsel fantezilerini 1990’lar\u0131n ba\u015flar\u0131nda MTV’de izledi\u011fi ZZ Top [4] videolar\u0131ndan toplad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcyor.<\/p>\n

Houellebecq’in romanlar\u0131ndaki mizojinist seks sahneleri \u00f6teden beri kasten provokatif kurgulanm\u0131\u015f gibi g\u00f6r\u00fcn\u00fcr, fakat Serotonin’de \u00e7ocuk\u00e7a abart\u0131l\u0131yd\u0131. Fakat hikayenin politik ba\u011flam\u0131nda daha b\u00fcy\u00fck bir amaca hizmet ediyor. Houellebecq, kahramanlar\u0131n\u0131n \u00e7aresizce yaln\u0131z olu\u015funun kad\u0131nlar\u0131n art\u0131k ba\u011fl\u0131l\u0131\u011fa, gelene\u011fe ve aileye inan\u00e7lar\u0131n\u0131n kalmay\u0131\u015f\u0131ndan ileri geldi\u011fi sonucuna var\u0131yor. T\u0131pk\u0131 de Benoist gibi, Houellebecq de 1968’de ikili bir trajedi g\u00f6r\u00fcyor: k\u00fcresel pazar\u0131n a\u00e7\u0131l\u0131\u015f\u0131 ve toplumsal geleneklerin \u00f6l\u00fcm\u00fc \u2014ekonominin ve yatak odas\u0131n\u0131n liberalle\u015fmesi.<\/p>\n

\u0130\u015fte bu y\u00fczden yapayaln\u0131z kalm\u0131\u015f kahramanlar\u0131 kendilerini gecenin bir yar\u0131s\u0131nda mahallelerindeki s\u00fcpermarketlerin donmu\u015f yemek b\u00f6l\u00fcmlerinde fiyat\u0131 uygun bir at\u0131\u015ft\u0131rmal\u0131k ararken buluyorlar. Houellebecq karakterinin esas \u00f6zelli\u011fi seks i\u00e7in de\u011fil, Carrefour Express’te TV kar\u015f\u0131s\u0131nda yenecek bir ak\u015fam yeme\u011fi i\u00e7in para \u00f6demesidir. S\u00fcpermarket franchise’lar\u0131\u00a0 \u015fimdi namevcut olan e\u015fin art\u0131k sa\u011flayamayaca\u011f\u0131 konforu ve yeme\u011fi sa\u011flar. Bunu a\u00e7arcas\u0131na, Houellebecq’in yak\u0131n tarihli iki roman\u0131nda, Submission ve Serotonin, bu s\u00fcpermarketler ve bakkallar \u2014Monoprix, Carrefour ve Paris’te her yerde haz\u0131r ve naz\u0131r bulunan Lidl\u2014 genelde kad\u0131n karakterlerden \u00e7ok daha renkli, n\u00fcansl\u0131 ve hassasiyetle tasvir edilirler. Houellebecq’in poetikas\u0131nda Monoprix, Carrefour ve FNAC uzun s\u00fcredir yinelenen karakterler olageliyorlar, \u00f6yle ki, Frans\u0131z ele\u015ftirmenler ona “s\u00fcpermarketin Baudelaire’i” \u00fcnvan\u0131n\u0131 verdiler.<\/p>\n

2017’de Houellebecq\u2019in birincil ABD yay\u0131nc\u0131s\u0131 Farrar, Strauss and Giroux yazar\u0131n yirmi iki y\u0131ll\u0131k \u015fiir k\u00fcllayat\u0131ndan derlenen iki dilli Unreconciled<\/em> kitab\u0131n\u0131 yay\u0131mlad\u0131. E\u011fer Houellebecq’in yan\u0131lmaz bir yazar oldu\u011fu kanaati gibi dertleriniz varsa, \u015fiirleri bir panzehir i\u015flevi g\u00f6rebilir. Ama ayn\u0131 zamanda bu \u015fiirler Houellebecq’i bir yazar olarak kavray\u0131\u015f\u0131m\u0131za dair de fikir verebilir. Romanlar\u0131ndaki gibi, Unreconciled<\/em>‘\u0131n merkezinde de yinelenen tema atomize edilmi\u015f bireylerin neoliberal kentteki ya\u015fam\u0131. Koleksiyon etkileyici bir \u015fekilde, so\u011fuk ve bunalt\u0131c\u0131 bir s\u00fcpermarkette sinir krizi ge\u00e7iren gen\u00e7 adam\u0131n tasvir edildi\u011fi \u201cHypermarch\u00e9\u201d (Frans\u0131zca’da s\u00fcpermarket anlam\u0131na gelen supermarch\u00e9 kelimesinden bir harf oyunu) adl\u0131 \u015fiirle a\u00e7\u0131l\u0131yor. Bir\u00e7ok ba\u015fka \u015fiir (tamam\u0131 ba\u015fl\u0131ks\u0131z) bu sahneye geri d\u00f6n\u00fcyor, \u00f6rne\u011fin:<\/p>\n

Art\u0131k umut yoktu.<\/span>
\nAz ileride, baz\u0131 kad\u0131nlar birbirilerini a\u015fa\u011f\u0131l\u0131yorlard\u0131<\/span>
\nAral\u0131ktan beri kapal\u0131 olan Monoprix’nin yan\u0131 ba\u015f\u0131nda.<\/span><\/p><\/blockquote>\n

\u015eiirlerin \u00e7o\u011fu 1990’lar\u0131n ba\u015flar\u0131nda yaz\u0131lm\u0131\u015f, Fransa’n\u0131n Euro’ya ge\u00e7i\u015finden ve ruhlar\u0131n\u0131 s\u00f6z\u00fcmona Br\u00fcksel’deki b\u00fcrokratlara sat\u0131\u015f\u0131ndan \u00e7ok daha \u00f6nce. Yine de d\u00fc\u015fman hali haz\u0131rda isimsizle\u015ftirilmi\u015f, uluslararas\u0131la\u015fm\u0131\u015f ticaret. Marketler ve perakende zincirleri neoliberal kentin bo\u015flu\u011funun k\u0131saltmas\u0131 haline gelmi\u015f. \u00d6yleyse Houellebecq bu so\u011fuk, kalpsiz \u015fehirde neye \u00f6zlem duyuyor? Kent hayat\u0131n\u0131n derin yaln\u0131zl\u0131\u011f\u0131n\u0131n \u00f6tesine ge\u00e7en bir a\u015fka, elbette, ama daha da b\u00fcy\u00fck bir \u015feye, \u00e7ok daha g\u00f6rkemli bir \u015feye: saf Fransa’ya, saf ulusa, geleneksel de\u011ferlere, hiyerar\u015fik sayg\u0131ya, ulusal kimli\u011fe, kadere ve manaya d\u00f6n\u00fc\u015fe.<\/p>\n

Serotonin’de Florent-Claude hayali bir ge\u00e7mi\u015fin, s\u00f6z\u00fcmona feministler, \u00e7evreciler, sek\u00fcler liberaller ve Avrupa Birli\u011fi’nin b\u00fcrokratlar\u0131 taraf\u0131ndan parampar\u00e7a edilmemi\u015f ba\u015fka t\u00fcrl\u00fc bir Fransa’ya d\u00f6nmeyi arzulayan bir azap duyuyor. Elbette Houellebecq ve etraf\u0131ndaki muhafazakarlar\u0131n hayali olan bu idealle\u015ftirilmi\u015f bu ge\u00e7mi\u015f ger\u00e7ekte asla var olmad\u0131. Bizzat yazar\u0131n kendisinin Submission’daki an\u0131lmaya de\u011fer pasaj\u0131nda yazd\u0131\u011f\u0131 gibi:<\/p>\n

Bir yere s\u0131rf orada ya\u015fad\u0131\u011f\u0131m\u0131z i\u00e7in bir nostalji duyar\u0131z, iyi ya da k\u00f6t\u00fc ya\u015famam\u0131z nadiren bir \u015fey ifade eder. Ge\u00e7mi\u015f daima g\u00fczeldir. O halde, bu y\u00fczden, gelecek de. Sadece \u015fu an ac\u0131 verir, onu da yan\u0131m\u0131zda mutluluk ve huzurun sonsuzlu\u011funa e\u015flik eden bir \u00e7\u0131ban\u0131n \u0131st\u0131rab\u0131 gibi ta\u015f\u0131r\u0131z.<\/p><\/blockquote>\n

Bunu k\u0131rm\u0131z\u0131 bir beyzbol \u015fapkas\u0131na s\u0131\u011fd\u0131rmay\u0131 deneyin.<\/p>\n

Notlar<\/strong><\/p>\n

[1] Donald Trump’\u0131n kazand\u0131\u011f\u0131 2016 ABD ba\u015fkanl\u0131k se\u00e7imi kampanyas\u0131n\u0131 y\u00f6neten ve 2017-2020 aras\u0131nda Trump’\u0131n ba\u015fdan\u0131\u015fmanl\u0131\u011f\u0131 yapm\u0131\u015f Amerikal\u0131 siyasal dan\u0131\u015fman. (\u00e7.n.)<\/span><\/p>\n

[2] Nixon, Ford ve Reagan’\u0131n asistanl\u0131\u011f\u0131n\u0131 ve ba\u015fdan\u0131\u015fmanl\u0131\u011f\u0131n\u0131 yapm\u0131\u015f olan Amerikal\u0131 paleo muhafazakar siyaset yorumcusu, k\u00f6\u015fe yazar\u0131, siyaset\u00e7i ve televizyoncu. (\u00e7.n.)<\/span><\/p>\n

[3] Fox News’te 2016 y\u0131l\u0131ndan bug\u00fcne Tucker Carlson Tonight talk show’unu s\u00fcrd\u00fcren muhafazakar televizyoncu. (\u00e7.n.)<\/span><\/p>\n

[4] ZZ Top, 1969’da Houston, Texas’ta kurulmu\u015f ABD’li rock grubu. 3 defa MTV Video M\u00fczik \u00d6d\u00fcl\u00fc alm\u0131\u015f, d\u00fcnya genelinde tahmini 50 milyon sat\u0131\u015f\u0131 yakalam\u0131\u015flar. (\u00e7.n.)<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Martin Gelin’in Boston Review’da 14 May\u0131s 2020’de yay\u0131mlanan The Prophet of the Far Right makalesini \u00e7evirdim. Yaz\u0131da Michel Houellebecq’in d\u00fc\u015f\u00fcnsel k\u00f6klerini Fransa’dan alan ve yak\u0131n zamanda ABD’de \u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131n\u0131 iddia etti\u011fi g\u00fcncel muhafazakarl\u0131kla ili\u015fkisini ele al\u0131yor. Entelekt\u00fcel ortamlarda paye verilmesi zor bu pozisyona ra\u011fmen Houellebecq’in edebiyat d\u00fcnyas\u0131nda de\u011fer g\u00f6rmesini hem kendisinin hem de genel … Continue reading A\u015f\u0131r\u0131 Sa\u011f’\u0131n Kahini (\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],"tags":[52],"class_list":["post-4704","post","type-post","status-publish","format-standard","hentry","category-ceviri","tag-michel-houellebecq"],"aioseo_notices":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9WYIs-1dS","jetpack-related-posts":[{"id":1225,"url":"https:\/\/yalpertem.com\/blog\/2018\/04\/21\/diken-houellebecqde-hinc-ve-kinizm\/","url_meta":{"origin":4704,"position":0},"title":"Diken, Houellebecq’de H\u0131n\u00e7 ve Kinizm","author":"yalpertem","date":"21 April 2018","format":false,"excerpt":"B\u00fclent Diken Nihilizm okumas\u0131yla, kendine benzer niyetlerle bir okurluk ve seyircili\u011fi deneyimleyen bir avu\u00e7 insan\u0131n seyretti\u011fi y\u00f6r\u00fcngede dola\u015f\u0131yor. \u00d6nce Nietzsche sonra Deleuze ve \u017di\u017eek, bu \u00e7er\u00e7evede zengin bir referans listesini s\u0131rt\u0131na alarak perde aralar\u0131nda Nuri Bilge Ceylan'a da Houellebecq'e de u\u011fruyor. Bu pasajda Bernstein'\u0131n \"Zelil Kahraman\" (abject hero) tahlili ve\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\/04\/b%C3%BClent-diken-nihilizm-199x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2823,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/10\/sembolist-edebiyat-ceviri\/","url_meta":{"origin":4704,"position":1},"title":"Sembolist Edebiyat (\u00c7eviri)","author":"yalpertem","date":"10 November 2019","format":false,"excerpt":"(Brittanica'n\u0131n Sembolist Edebiyat makalesinin \u00e7evirisi. Rodenbach okuyunca merak ettim sembolistleri. Tersine'yi okumal\u0131y\u0131m.) 19. y\u00fczy\u0131l sonlar\u0131nda Frans\u0131z \u015fairleri aras\u0131nda k\u0131smen organize bir \u015fekilde do\u011fan edebi ve sanatsal bir hareket olarak Sembolizm, resim ve tiyatroya geni\u015fledi, 20. y\u00fczy\u0131l Avrupal\u0131 ve Amerikal\u0131 edebiyat\u00e7\u0131lar\u0131n\u0131 \u00e7e\u015fitli derecelerde etkiledi. Sembolist sanat\u00e7\u0131lar bireyin duygusal deneyimini incelikli ve\u2026","rel":"","context":"In "\u00e7eviri"","block_context":{"text":"\u00e7eviri","link":"https:\/\/yalpertem.com\/blog\/category\/ceviri\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":3565,"url":"https:\/\/yalpertem.com\/blog\/2020\/06\/17\/a-s-byatt-budalalarin-prensi-ceviri\/","url_meta":{"origin":4704,"position":2},"title":"A.S. Byatt, Budalalar\u0131n Prensi (\u00c7eviri)","author":"yalpertem","date":"17 June 2020","format":false,"excerpt":"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\u2026","rel":"","context":"In "\u00e7eviri"","block_context":{"text":"\u00e7eviri","link":"https:\/\/yalpertem.com\/blog\/category\/ceviri\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2020\/06\/dostoyevsky-prens-m%C4%B1%C5%9Fkin-as-byatt-1024x432.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2020\/06\/dostoyevsky-prens-m%C4%B1%C5%9Fkin-as-byatt-1024x432.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2020\/06\/dostoyevsky-prens-m%C4%B1%C5%9Fkin-as-byatt-1024x432.jpg?resize=525%2C300 1.5x"},"classes":[]},{"id":2728,"url":"https:\/\/yalpertem.com\/blog\/2019\/11\/20\/sollers-merkezdeki-houellebecq\/","url_meta":{"origin":4704,"position":3},"title":"Sollers, Merkez’deki Houellebecq","author":"yalpertem","date":"20 November 2019","format":false,"excerpt":"\" TA\u015eRALILAR Psikanalize kar\u015f\u0131 d\u00fc\u015fmanl\u0131k\u00a0normal, ama bazen tuhaf boyutlara ula\u015f\u0131yor. Aralar\u0131ndaki ba\u011flar art\u0131k kopmu\u015f bile olsa entelekt\u00fceller s\u0131n\u0131f\u0131, \u00f6zellikle de filozoflar, bu konuda h\u00e2l\u00e2 sinir krizleri ge\u00e7iriyor. \u00d6rne\u011fin Peruk'u ele alal\u0131m. Babas\u0131n\u0131n tar\u0131m i\u015f\u00e7isini oldu\u011funu anlatmak i\u00e7in hi\u00e7bir f\u0131rsat\u0131 ka\u00e7\u0131rmayan iyi bir \u00e7ocuk. Katolik rahip \u00f6\u011fretmenlere kar\u015f\u0131 kesin bir tiksinti\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\/11\/philippe-sollers-merkez-180x300.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1969,"url":"https:\/\/yalpertem.com\/blog\/2018\/08\/11\/kazuo-ishiguro-gunden-kalanlarin-cikis-fikri-ceviri\/","url_meta":{"origin":4704,"position":4},"title":"Kazuo Ishiguro – “G\u00fcnden Kalanlar”\u0131n \u00c7\u0131k\u0131\u015f Fikri (\u00c7eviri)","author":"yalpertem","date":"11 August 2018","format":false,"excerpt":"Kazuo Ishiguro 2017'de Toronto Film Festivali'nde s\u00f6yle\u015fi yapm\u0131\u015f. S\u00f6yle\u015fi temelde G\u00fcnden Kalanlar'\u0131n (1989) uyarlamas\u0131 The Remains of the Day (1993) \u00fczerinden bu roman\u0131n uyarlama s\u00fcreci, sinema\/edebiyat ili\u015fkisi ve haf\u0131zan\u0131n kendi romanc\u0131l\u0131\u011f\u0131ndaki merkezi rol\u00fc \u00fczerine. \u00c7evirdi\u011fim k\u0131s\u0131m, konu\u015fman\u0131n ba\u015f\u0131nda (00:00 - 05:14) Ishiguro'nun roman\u0131n ana karakteri ba\u015fu\u015fak Stevens'\u0131n temsil etti\u011fi iki\u2026","rel":"","context":"In "\u00e7eviri"","block_context":{"text":"\u00e7eviri","link":"https:\/\/yalpertem.com\/blog\/category\/ceviri\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/08\/kazuo-ishiguro-tiff-2017.png?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":951,"url":"https:\/\/yalpertem.com\/blog\/2018\/02\/15\/yuval-noah-harari-insan-gelecekte-olacak-mi-wef-ceviri\/","url_meta":{"origin":4704,"position":5},"title":"Yuval Noah Harari – \u0130nsan Gelecek(te) Olacak M\u0131? [WEF] – (\u00c7eviri)","author":"yalpertem","date":"15 February 2018","format":false,"excerpt":"Yine yar\u0131m bir \u00e7eviri, fakat \u00e7evirirken bir noktada bunu YouTube'da \u00e7evirmi\u015f olan var m\u0131d\u0131r diye bakt\u0131m, varm\u0131\u015f. \u00d6ylesi daha do\u011fru, az hak yiyen bir yol zaten. Oradan da izlenebilir, benden iyi \u00e7evirmi\u015flerdir kesin. Burada da \u00e7evirdi\u011fim kadar\u0131 metin olarak dursun. Bug\u00fcn sizle gelecek hakk\u0131nda konu\u015fmak istiyorum, t\u00fcr\u00fcm\u00fcz\u00fcn gelece\u011fi, ya\u015fam\u0131n gelece\u011fi\u2026","rel":"","context":"In "\u00e7eviri"","block_context":{"text":"\u00e7eviri","link":"https:\/\/yalpertem.com\/blog\/category\/ceviri\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/02\/yuval-noah-harari-will-the-future-be-human-1024x576.jpg?resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/02\/yuval-noah-harari-will-the-future-be-human-1024x576.jpg?resize=350%2C200 1x, https:\/\/i0.wp.com\/yalpertem.com\/blog\/wp-content\/uploads\/2018\/02\/yuval-noah-harari-will-the-future-be-human-1024x576.jpg?resize=525%2C300 1.5x"},"classes":[]}],"amp_enabled":true,"_links":{"self":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/4704","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=4704"}],"version-history":[{"count":42,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/4704\/revisions"}],"predecessor-version":[{"id":6642,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/posts\/4704\/revisions\/6642"}],"wp:attachment":[{"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/media?parent=4704"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/categories?post=4704"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yalpertem.com\/blog\/wp-json\/wp\/v2\/tags?post=4704"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}