{"id":10940,"date":"2010-04-01T15:58:26","date_gmt":"2010-04-01T12:58:26","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=10940"},"modified":"2017-05-31T16:20:50","modified_gmt":"2017-05-31T13:20:50","slug":"sait-faikin-insana-bakisi","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2010\/04\/01\/sait-faikin-insana-bakisi","title":{"rendered":"Sait Faik\u2019in insana bak\u0131\u015f\u0131"},"content":{"rendered":"

Sait Faik yo\u011fun insan sevgisiyle \u00f6r\u00fclm\u00fc\u015f \u00f6yk\u00fcler yazd\u0131. \u00d6yk\u00fclerinde kimi zaman insan\u0131n g\u00fcld\u00fcr\u00fcc\u00fc yanlar\u0131n\u0131 da yakalay\u0131p okuyucuya verdi. Zaman zaman \u00f6yk\u00fclerinde ya\u015famdaki yaln\u0131zl\u0131klar\u0131 duyurdu. Havada Bulut\u2019da Yorgiya\u2019n\u0131n Mahallesi\u2019nde \u201cHer yerde belki ya\u015famadan ya\u015fad\u0131m\u201d diyerek bunu yans\u0131t\u0131r. Toplumsal s\u0131k\u0131nt\u0131larla ilgili kayg\u0131s\u0131n\u0131 da \u00e7ok\u00e7a dile getirdi. Zaman zaman a\u015f\u0131r\u0131 belirlemeler gibi g\u00f6r\u00fcnse de hep insanl\u0131\u011f\u0131n bug\u00fcn\u00fcn\u00fcn ve gelece\u011finin tedirginli\u011fini ya\u015fad\u0131. Son Ku\u015flar kitab\u0131n\u0131n ayn\u0131 adl\u0131 \u00f6yk\u00fcs\u00fcndeki \u015fu c\u00fcmle belki de en iyi bi\u00e7imde onun insanl\u0131kla ilgili kayg\u0131lar\u0131n\u0131 yans\u0131t\u0131yordu: \u201cBizim i\u00e7in de\u011fil ama, \u00e7ocuklar, sizin i\u00e7in k\u00f6t\u00fc olacak. Biz ku\u015flar\u0131 ve ye\u015fillikleri \u00e7ok g\u00f6rd\u00fck. Sizin i\u00e7in k\u00f6t\u00fc olacak. Benden hikayesi.\u201d <\/em><\/p>\n

Ali Timu\u00e7in<\/strong><\/p>\n

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Sait Faik (1906-1954) insana y\u00f6nelik \u00f6zg\u00fcn bak\u0131\u015f\u0131yla edebiyat\u0131m\u0131z\u0131n en \u00f6nemli yazarlar\u0131ndan biri oldu. O daha \u00e7ok halk insanlar\u0131n\u0131, halk\u0131n i\u00e7inden gelen s\u0131radan insan\u0131 konu edinmi\u015ftir. Kendisi de o s\u0131radan insanlar\u0131n aras\u0131na kar\u0131\u015fm\u0131\u015f ya da uzaktan onlar\u0131 g\u00f6zlemlemi\u015f, sonra onlar\u0131 \u00f6yk\u00fclerine konu etmi\u015ftir. R\u00f6portajlar\u0131ndan birinde ona kibar kesime neden yap\u0131tlar\u0131nda yer vermedi\u011fi sorulmu\u015ftur. Bu soruya \u015f\u00f6yle yan\u0131t vermi\u015ftir: \u201cKibar z\u00fcmreyi hi\u00e7 sevmem de ondan. Bana \u00f6yle gelir ki, onlar ya\u015famaktan hi\u00e7 zevk almazlar. Ya\u015famaktan zevk alanlar\u0131 severim ben. Ya\u015famal\u0131 bu d\u00fcnyada\u2026\u201d (1) Belli ki \u00fcst kesim insan\u0131n\u0131 yapmac\u0131kl\u0131 ve insandan kopuk bulur. Zor ko\u015fullardaki s\u0131radan insan\u0131n ya\u015fama sava\u015f\u0131n\u0131 daha Semaver <\/em>(1936) adl\u0131 ilk \u00f6yk\u00fc kitab\u0131n\u0131n ilk \u00f6yk\u00fcs\u00fc olan Semaver<\/em>\u2019de verir. Semaver anneyle o\u011flun aile s\u0131cakl\u0131\u011f\u0131n\u0131n simgesidir. Sait Faik \u00f6yk\u00fcs\u00fcnde bu ana o\u011flun yak\u0131nl\u0131\u011f\u0131n\u0131 \u015f\u00f6yle yans\u0131t\u0131r: \u201cAnas\u0131n\u0131n \u00e7ocu\u011fundan, \u00e7ocu\u011fun anas\u0131ndan ba\u015fka gelirleri var m\u0131yd\u0131? Yemek odas\u0131na kucak kuca\u011fa ge\u00e7tiler. Odan\u0131n i\u00e7ini k\u0131zarm\u0131\u015f bir ekmek kokusu doldurmu\u015ftu. Semaver, ne g\u00fczel kaynard\u0131. Ali semaveri, i\u00e7inde ne \u0131st\u0131rap, ne grev, ne de kaza olan bir fabrikaya benzetirdi. Ondan yaln\u0131z koku, buhar ve sabah\u0131n saadeti istihsal edilirdi.\u201d (2) Sait Faik \u00f6yk\u00fclerinin ger\u00e7ek\u00e7ili\u011fi bir liriklikte anlat\u0131m\u0131n\u0131 bulur. Daha ilk \u00f6yk\u00fcs\u00fcnde Sait Faik belli bir \u015fiirselli\u011fe ula\u015fm\u0131\u015ft\u0131r. \u00d6zellikle bir \u00f6yk\u00fcde bir c\u00fcmleyi zaman zaman yinelemesi \u00f6yk\u00fcy\u00fc daha \u00e7arp\u0131c\u0131 k\u0131lar. O bu anlat\u0131m \u00f6zelli\u011fini kimi \u00f6yk\u00fclerinde s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Canal\u0131c\u0131 c\u00fcmleleri yineleyerek yap\u0131t\u0131 etkili k\u0131lmaya \u00e7al\u0131\u015f\u0131r. Bu anlat\u0131m \u00f6yk\u00fclerine \u015fiirsellik de katar. Ayr\u0131ca biraz \u00f6zensiz denilebilecek yaz\u0131\u015f\u0131n\u0131n da getirdi\u011fi bir \u015fiirselli\u011fi vard\u0131r.<\/p>\n

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Temas\u0131 esas olarak insan<\/em><\/strong><\/p>\n

Yeniden Semaver <\/em>\u00f6yk\u00fcs\u00fcne d\u00f6nersek burada Ali\u2019nin annesiyle olan mutluluk tablosu annenin \u00f6l\u00fcm\u00fcyle bozulur. Ali annesinin \u00f6l\u00fcm\u00fc kar\u015f\u0131s\u0131ndaki \u00e7aresizli\u011fi i\u00e7inde kendisini bir an \u00f6nce ya\u015fl\u0131 buluvermek ister. De\u011fi\u015fik bir ruh durumuyla bir s\u00fcre sonra \u00f6l\u00fcm\u00fc ola\u011fan kar\u015f\u0131lar. \u00d6l\u00fcn\u00fcn yan\u0131nda kal\u0131nca onun \u00e7ok da korkulacak bir \u015fey olmad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr. Sait Faik \u00f6l\u00fcm\u00fcn s\u0131radan bir olgu oldu\u011funu Semaver<\/em>\u2019deki Bir K\u0131y\u0131n\u0131n D\u00f6rt Hikayesi<\/em>\u2019nin d\u00f6rd\u00fcnc\u00fcs\u00fc olan Ve \u00d6l\u00fc<\/em>\u2019de verir: \u201cBir lahza, \u00f6l\u00fcn\u00fcn yan\u0131m\u0131zda oldu\u011funu d\u00fc\u015f\u00fcnd\u00fcm. Hepimiz, s\u0131rt\u0131m\u0131zda ve elbisemizin alt\u0131nda, g\u00f6zlerimizin i\u00e7inde bir m\u00fcstakbel \u00f6l\u00fc gezdirmiyor muyduk? Bir zaman i\u00e7in kendi \u00f6l\u00fcs\u00fcn\u00fc g\u00f6rebilecek, seyredebilecek bir yarad\u0131l\u0131\u015fta olsayd\u0131 da bu \u00f6l\u00fc kalk\u0131p \u00f6l\u00fcs\u00fcne baksayd\u0131, herkes gibi sararacak ve etraf\u0131ndakilere: – Bug\u00fcn yemek yiyemeyece\u011fim, diyecekti.\u201d (3) Yazar \u00f6yk\u00fcs\u00fcnde bir bal\u0131k\u00e7\u0131n\u0131n \u00f6l\u00fcm\u00fcnden giderek \u00f6l\u00fcm\u00fcn do\u011fal bir \u015fey oldu\u011funu b\u00f6yle ortaya koyuyor. Semaver<\/em>\u2019de dedi\u011fi gibi \u201c\u00d6l\u00fcm bildi\u011fimiz kadar korkun\u00e7 bir \u015fey de\u011fildi. Yaln\u0131z biraz so\u011fuktu o kadar\u2026\u201d (4)<\/p>\n

Sait Faik\u2019in sanat\u0131nda tema \u00f6l\u00fcm olsun ba\u015fka bir \u015fey olsun ilgilenilen, \u00fcst\u00fcnde d\u00fc\u015f\u00fcn\u00fclen ger\u00e7ekte insand\u0131r. Yazar zaman zaman do\u011fadaki canl\u0131lar\u0131n tan\u0131tlamalar\u0131na yer verse de genelde insan\u0131 g\u00f6zlemleyerek yap\u0131tlar\u0131n\u0131 olu\u015fturur. Bir K\u0131y\u0131n\u0131n D\u00f6rt Hikayesi<\/em>\u2019nin Kediler<\/em>\u2019inde \u015f\u00f6yle der: \u201cR\u0131ht\u0131m\u0131n kenar\u0131nda mehtapl\u0131 denize g\u00f6zlerini dikmi\u015f kediyi g\u00f6rm\u00fc\u015ft\u00fcm. Fakat kediden \u00e7ok insanlara bakt\u0131\u011f\u0131m i\u00e7in, bir zay\u0131f kedinin denizin mehtapl\u0131 surat\u0131nda ne d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc ile alakadar de\u011fildim.\u201d (5) Ba\u015fka canl\u0131lar onun yap\u0131tlar\u0131nda do\u011fal d\u00fczenin bir par\u00e7as\u0131 olarak ge\u00e7seler da temel konu insand\u0131r. Do\u011fan\u0131n d\u00f6ng\u00fcs\u00fc yeri gelir insan\u0131n emekle ya\u015fama katt\u0131klar\u0131yla, yeri gelir tembellikleriyle anlaml\u0131 k\u0131l\u0131n\u0131r. Ancak sonu\u00e7ta do\u011fa insan i\u00e7in vard\u0131r. Sait Faik Sarn\u0131\u00e7<\/em>\u2019da (1939) Kalorifer ve Bahar <\/em>\u00f6yk\u00fcs\u00fcnde mevsimlerle insan\u0131n ba\u011f\u0131n\u0131 \u015f\u00f6yle anlat\u0131r: \u201cK\u0131\u015f g\u00fczel \u015feydir. Tabiat yemi\u015fleri, mahsulleri, ku\u015flar\u0131 ve ar\u0131lar\u0131yla insanlar\u0131n saadeti i\u00e7in \u00e7al\u0131\u015ft\u0131\u011f\u0131 g\u00fcn mevsimler ne g\u00fczeldir! \u00c7al\u0131\u015fan bir insan i\u00e7in k\u0131\u015f bir \u0131l\u0131k su, yaz bir serin vantilat\u00f6rd\u00fcr. K\u0131\u015f saadetimizi tamamlamak i\u00e7in geliyor. Bahar a\u015fk\u0131m\u0131z\u0131 tazelemek i\u00e7in. Yaz, damarlar\u0131m\u0131zdaki \u00e7al\u0131\u015fma arzusuna biraz tembellik, g\u00fcne\u015f ve kudret doldurmak i\u00e7in. Tabiat \u00e7\u0131r\u0131l\u00e7\u0131plak, hatta zelzelesi, f\u0131rt\u0131nas\u0131yla bile g\u00fczel, \u00f6zlenir bir \u015fey. Bizi kucaklamak, bizi avutmak, bizi \u00e7al\u0131\u015ft\u0131rmak, bize \u00f6\u011fretmek i\u00e7in neler yapmaz. O art\u0131k bir s\u0131r de\u011fildir. Bize bir saadeti ba\u011f\u0131ran, bizi ya\u015famaya \u00e7a\u011f\u0131ran bir b\u00fct\u00fcnd\u00fcr.\u201d (6)<\/p>\n

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Sait Faik, Orhan Veli ve Sabahattin Eyubo\u011flu.<\/figcaption><\/figure>\n

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\u0130nsan\u0131n en fenas\u0131nda bile iyi taraf\u0131 bulmak\u2026<\/em><\/strong><\/p>\n

Sait Faik ayr\u0131ca ya\u015fam\u0131n i\u00e7inden ve \u00e7e\u015fitli mesleklerden insanlar\u0131 olumlu olumsuz yanlar\u0131yla \u00f6yk\u00fclerine konu edindi. \u00d6rne\u011fin bir ada halk\u0131n\u0131 anlatt\u0131\u011f\u0131 Birtak\u0131m \u0130nsanlar<\/em> (1944) roman\u0131nda bakkal Karamanl\u0131 \u015f\u00f6yle ortaya konur: \u201c\u2018Para insan\u0131 ahlaks\u0131z ediyor. Karn\u0131 doyunca insan\u0131n k\u00f6t\u00fc huylar\u0131 da meydana \u00e7\u0131k\u0131yor.\u2019 der bakkal Karamanl\u0131. Bunu tecr\u00fcbe ile \u00f6\u011frenmi\u015ftir. Bunda bir hakikat vard\u0131r ama bu hakikati herkes kendine g\u00f6re tefsir eder. Karamanl\u0131n\u0131n y\u00fcz paral\u0131k buzu, yirmi be\u015fe, hastalara satt\u0131\u011f\u0131 \u00e7ok olmu\u015ftu. Ama buna h\u0131rs\u0131zl\u0131k denmez, a\u00e7\u0131kg\u00f6zl\u00fcl\u00fck denirdi.\u201d (7) \u00a0<\/em>Bakkal Karamanl\u0131 mesle\u011finin inceliklerine \u00e7ok da ahlakl\u0131 olmayan bir anlay\u0131\u015f katm\u0131\u015f gibidir. Sait Faik s\u0131radan insan\u0131n ac\u0131mas\u0131zl\u0131\u011f\u0131n\u0131 anlat\u0131rken de g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi abart\u0131l\u0131 bir a\u015fa\u011f\u0131lamaya girmeden alayc\u0131 bir dil kullan\u0131r. Yine roman\u0131n ba\u015fkahramanlar\u0131ndan Fahri\u2019lerin evinin hizmet\u00e7isinin tipini \u00e7izerken hizmet\u00e7inin ki\u015fili\u011fiyle mesle\u011fi i\u00e7 i\u00e7e ge\u00e7mi\u015f gibidir. Yazar hizmet\u00e7iyi \u015f\u00f6yle tan\u0131tlar: \u201cFakat bileklerinden a\u015fa\u011f\u0131s\u0131 birtak\u0131m ba\u015fkalar\u0131 hesab\u0131na yap\u0131lm\u0131\u015f fedakarl\u0131klar\u0131n; \u00e7ocuk bezlerinin, milyonla kirli taba\u011f\u0131n hat\u0131ras\u0131n\u0131 ta\u015f\u0131yor, her hali eve her gelen erkek misafire ac\u0131mak, i\u011frenmek, ho\u015flanmak hislerini birden ihtiva eden birtak\u0131m arzu, arzusuzluklar veriyordu.\u201d (8) Burada ki\u015fi zay\u0131fl\u0131klar\u0131 ve mesle\u011finin incelikleriyle birlikte verilir. Yazar ba\u015fka meslekten bir ki\u015fiyi berber Dimitro\u2019yu anlat\u0131rken de iyi berberi tan\u0131tlar. Yan kahramanlardan Ali R\u0131za k\u0131z\u0131 Melek\u2019i yan\u0131nda yeti\u015fmesi i\u00e7in Dimitro\u2019nun yan\u0131na verip meslekte geli\u015fmesini d\u00fc\u015f\u00fcn\u00fcr. Bu s\u0131rada Sait Faik usta berberi \u015fu tan\u0131tlamayla ortaya kor: \u201cYaln\u0131z olgun berberlerde d\u00fc\u015f\u00fcnmekle makas \u015f\u0131k\u0131rdatmas\u0131 aras\u0131nda bir m\u00fcvazene vard\u0131r. K\u00f6t\u00fc berber d\u00fc\u015f\u00fcn\u00fcrken ya makas elinde donakal\u0131r; yahut da makas ahenksiz \u015f\u0131k\u0131rdar. \u00c7ok iyi berber ise hem kafas\u0131na hem eline hakim oland\u0131r. D\u00fc\u015f\u00fcncenin s\u00fcr\u2019ati ile, haleti ruhiye ile makas\u0131n ahengi bozulmamal\u0131d\u0131r. Diyebiliriz ki, bir telgraf\u00e7\u0131 t\u0131k\u0131rd\u0131 ile nas\u0131l anlarsa, bir berber de \u00f6ylece makas \u015f\u0131k\u0131rt\u0131s\u0131ndan birtak\u0131m manalar \u00e7\u0131karabilir.\u201d (9) Romanda tam olarak Dimitro\u2019nun b\u00f6yle bir berber olup olmad\u0131\u011f\u0131 ortaya konmaz. Ancak Melek k\u0131sa s\u00fcrede meslekte ilerleyip kendi d\u00fckkan\u0131n\u0131 a\u00e7acakt\u0131r ve mesle\u011finde ba\u015far\u0131l\u0131 olacakt\u0131r. Ya\u015fam\u0131ndaki bu geli\u015fme Melek\u2019i \u00e7ok da doyuracak de\u011fildir. Memleketinde tifoya yakaland\u0131ktan sonra adaya dinlenmeye gelen Fahri\u2019yle a\u015fklar\u0131n\u0131n tam ba\u015flad\u0131\u011f\u0131 s\u0131rada Fahri\u2019nin \u00f6l\u00fcm\u00fcyle bu a\u015fk\u0131n sona ermesi onu ba\u015fka aray\u0131\u015flara iter. \u0130zini kaybettirir, \u00e7ocu\u011fu oldu\u011fu duyulur. Romandaki g\u00fc\u00e7l\u00fc ve yerine g\u00f6re \u00f6zverili bir kad\u0131n zamanla ya\u015famdan ka\u00e7an biri durumuna gelecektir.<\/p>\n

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Sait Faik ger\u00e7ekten ya\u015fama emek verenlerle insan\u0131n kendini \u00f6zde\u015fle\u015ftirdi\u011fini ve onlara kar\u015f\u0131 ac\u0131ma ve utanmayla kar\u0131\u015f\u0131k g\u0131pta duydu\u011funu anlat\u0131r.<\/figcaption><\/figure>\n

Sait Faik olumsuz \u00f6zellikler g\u00f6steren ki\u015fileri zaman zaman anlatsa da daha \u00e7ok olumlu \u00f6zellikler g\u00f6steren insana yak\u0131n durur. Her insanda iyi bir yan g\u00f6rmek ister. \u00d6rne\u011fin roman\u0131n ba\u015fkahramanlar\u0131ndan Ali R\u0131za\u2019n\u0131n evlatl\u0131\u011f\u0131 Hikmet\u2019in \u00e7al\u0131\u015ft\u0131\u011f\u0131 motorun sahibi \u015f\u00f6yle yans\u0131t\u0131l\u0131r: \u201cMotorun sahibi sarho\u015f herifin biridir. Biridir ama sevilme\u011fe lay\u0131kt\u0131r. \u0130nsan\u0131n en fenas\u0131nda bir iyi taraf\u0131n bulundu\u011funu biliyoruz. Biz o iyi taraf\u0131 bulma\u011fa, ondan istifade etme\u011fe mahkumuz, mecburuz.\u201d (10) \u0130nsan\u0131n olumsuz \u00f6zelliklerini g\u00f6rsek de insana g\u00fcvenmek zorunday\u0131z. Yazar b\u00f6yle s\u00f6ylese de Hikmet bu bal\u0131k\u00e7\u0131 motorunu b\u0131rak\u0131p \u0131ss\u0131z bir adada bek\u00e7ilik i\u015fine girer. Bundan \u00f6nce Sait Faik\u2019in Hikmet\u2019in \u00e7ocuklu\u011fuyla ilgili bir an\u0131y\u0131 verdi\u011fi bir b\u00f6l\u00fcm dikkat \u00e7ekicidir. Hikmet \u00e7ocuklu\u011funun saf\u00e7a ama i\u00e7ten yak\u0131nl\u0131klar\u0131na \u00f6zlem duyar. Gelecekte kurmaya \u00e7al\u0131\u015faca\u011f\u0131 arkada\u015fl\u0131klar ona \u00e7ok da iyilikler getirecek de\u011fildir. Hikmet\u2019in an\u0131s\u0131 arkada\u015flar\u0131yla Ka\u015f\u0131kadas\u0131\u2019na yolculuklar\u0131yla ilgilidir. Yazar romandaki bu an\u0131y\u0131 asl\u0131na yak\u0131n bi\u00e7imde \u015eahmerdan<\/em> (1940) kitab\u0131nda Ka\u015f\u0131kadas\u0131\u2019nda <\/em>\u00f6yk\u00fcs\u00fcnde de verir. Yaln\u0131zca birka\u00e7 yerde k\u00fc\u00e7\u00fck s\u00f6zc\u00fck de\u011fi\u015fiklikleri vard\u0131r. Paragraf ba\u015flar\u0131 de\u011fi\u015ftirilmi\u015ftir. Asl\u0131nda bu b\u00f6l\u00fcmde \u00f6nemli olan zamanla insan\u0131n eski de\u011ferlerini yitirmesi ve ge\u00e7mi\u015fteki safl\u0131\u011f\u0131n\u0131, iyili\u011fini, bir \u00f6l\u00e7\u00fcde masumiyetini yitirmesidir. Hikmet daha sonradan arkada\u015f\u0131 Odisiya\u2019yla kar\u015f\u0131la\u015ft\u0131\u011f\u0131nda de\u011fi\u015fik bir ruh durumu ya\u015far. Hikmet romanda Odisiya\u2019y\u0131 \u015f\u00f6yle g\u00f6sterir: \u201cY\u00fcz; dostu, arkada\u015f\u0131, hatta zaman zaman u\u015fa\u011f\u0131 olmay\u0131 kabule haz\u0131rland\u0131\u011f\u0131m y\u00fcz, vehmetti\u011fim manalar\u0131n\u0131 \u00fczerinden l\u00fczumsuz bir g\u00f6mlek gibi \u00e7\u0131kar\u0131p -y\u0131lan g\u00f6mle\u011fi gibi- \u00e7\u0131kar\u0131p atm\u0131\u015ft\u0131. Amcas\u0131 Yorgo\u2019nun bir haftal\u0131k bir istakozu satarken tak\u0131nd\u0131\u011f\u0131 surat\u0131 birdenbire Odisiya\u2019n\u0131n y\u00fcz\u00fcnde bulunca \u015fa\u015f\u0131rd\u0131m. Eskiden bu iki insana bakar, nas\u0131l oluyor da, derdim, hatlar\u0131 birbirine bu kadar benziyen iki insan\u0131n birisi bana, o \u0131l\u0131k d\u00fcnyay\u0131 verdi\u011fi halde, \u00f6tekisi; so\u011fuk, \u00e7irkin, fakat hakiki d\u00fcnyay\u0131 versin? O zaman hayal meyal hissetmi\u015ftim ki, y\u00fczle ahlak aras\u0131nda herhalde m\u00fcthi\u015f bir m\u00fcnasebet vard\u0131r. G\u00fczel olan muhakkak g\u00fczel ahlakl\u0131d\u0131r, demiyece\u011fim. Sonra fena ruhlu g\u00fczel y\u00fcz\u00fcn de, insan\u0131 peri\u015fan eden, mahveden sihrini de inkar etmiyece\u011fim. Yaln\u0131z \u015funu demek istiyorum ki, ahlak\u0131n y\u00fcze ekledi\u011fi mimikler, hatta renkler, y\u00fcz, ahlak her ikisi g\u00fczelken de vard\u0131r. Fakat bunlar bu an, bu mekan i\u00e7inde sevimlidirler. Ahlak bozulmazsa tertemiz, sevimli, hatta dostun bu halleri taklit edece\u011fi gelmesi kadar dost, \u0131l\u0131k devam ederler.\u201d (11) \u00d6yk\u00fcde Odisiya\u2019n\u0131n amcas\u0131 Manoli olarak ge\u00e7er. \u00c7ok k\u00fc\u00e7\u00fck anlat\u0131m ayr\u0131l\u0131klar\u0131 vard\u0131r. \u0130ki metin b\u00fcy\u00fck \u00f6l\u00e7\u00fcde benze\u015fmektedir. Hikmet o d\u00f6nemdeki arkada\u015flar\u0131n\u0131n bu an\u0131lar\u0131 hi\u00e7 an\u0131msamamas\u0131na ve art\u0131k \u00e7ok de\u011fi\u015fik bak\u0131\u015fta insanlar olmalar\u0131na burulur. Hikmet roman\u0131n sonunda yard\u0131mc\u0131 oldu\u011fu tan\u0131d\u0131klar\u0131ndan da darbe yiyecektir. Yine de Hikmet bu duruma kay\u0131ts\u0131z kalm\u0131\u015f gibidir. \u00d6nceki an\u0131 kitab\u0131n sonuna da bir g\u00f6nderme gibi d\u00fc\u015f\u00fcn\u00fclebilir.<\/p>\n

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B\u00fcy\u00fck kentlerdeki yabanc\u0131la\u015fma<\/em><\/strong><\/p>\n

Birtak\u0131m \u0130nsanlar<\/em>\u2019daki Hikmet\u2019in durumu gibi, insanlar\u0131n ge\u00e7mi\u015fte ya\u015fad\u0131klar\u0131 yak\u0131nl\u0131klar\u0131 yitirdiklerindeki yabanc\u0131la\u015fmalar\u0131 ola\u011fand\u0131r. Sait Faik bunu biraz da b\u00fcy\u00fck kentte ya\u015faman\u0131n bir sonucu gibi g\u00f6r\u00fcr. \u00d6zellikle \u015eahmerdan <\/em>kitab\u0131ndaki \u00c7\u00f6p\u00e7\u00fc Ahmet <\/em>\u00f6yk\u00fcs\u00fcndeki k\u00f6yden kente gelen Ahmet\u2019in ruh durumunu \u00e7ok iyi yans\u0131t\u0131r. K\u00f6yl\u00fc ya\u015fam\u0131ndaki ya\u015fama kay\u0131ts\u0131zl\u0131\u011f\u0131n yerini kent ya\u015fam\u0131nda bir tedirginli\u011fin ald\u0131\u011f\u0131 a\u00e7\u0131kt\u0131r. Yazar \u00c7\u00f6p\u00e7\u00fc Ahmet<\/em>\u2019de Ahmet\u2019le ilgili olarak \u015funlar\u0131 s\u00f6yler: \u201c\u00c7obanl\u0131k yapt\u0131\u011f\u0131 g\u00fcnlerdeki d\u00fc\u015f\u00fcnmemenin yerine bug\u00fcn s\u00fcp\u00fcrge sap\u0131na dayand\u0131\u011f\u0131 zaman d\u00fc\u015f\u00fcnmek, k\u00f6t\u00fc k\u00f6t\u00fc d\u00fc\u015f\u00fcnmek geliyordu, neden acaba?\u201d (12) Ahmet bu a\u011f\u0131r i\u015ften yine de ho\u015fnut gibidir. \u0130\u015fini yapar, geleni ge\u00e7eni g\u00f6zlemler. Ama yine de Sait Faik Ahmet\u2019in kent ya\u015fam\u0131na dayanmas\u0131n\u0131n zorlu\u011funu \u00f6yk\u00fcs\u00fcn\u00fcn sonunda verir. Sait Faik b\u00fcy\u00fck kentteki ya\u015fam\u0131n zorlu\u011fundan oldu\u011fu kadar b\u00fcy\u00fck kent insanlar\u0131n\u0131n birbirlerinden kopuklu\u011fundan da \u00f6yk\u00fclerinde s\u00f6z eder. L\u00fczumsuz Adam<\/em> (1948) kitab\u0131n\u0131n ayn\u0131 adl\u0131 \u00f6yk\u00fcs\u00fcnde \u015f\u00f6yle der: \u201cBu koca \u015fehir, ne kadar birbirine yabanc\u0131 insanlarla dolu. Sevi\u015femeyecek olduktan sonra neden insanlar b\u00f6yle birbiri i\u00e7ine giren \u015fehirler yapm\u0131\u015flar? Akl\u0131m ermiyor. Birbirini k\u00fc\u00e7\u00fck g\u00f6rmeye, bo\u011fazla\u015fmaya, kand\u0131rmaya m\u0131? Nas\u0131l birbirinden bu kadar ayr\u0131, birbirini bu kadar tan\u0131mayan insanlar bir \u015fehirde ya\u015f\u0131yor?\u201d (13) Sait Faik kentteki insanlar\u0131n birbirlerinden kopmu\u015flu\u011funu dile getirmekle kalmaz, \u00f6yk\u00fclerinde kentteki insanla ilgili karamsar tablolar da \u00e7izer. \u0130nsana karamsar yakla\u015f\u0131rken de nesnelli\u011fi elden b\u0131rakmaz. \u00d6zel olarak \u201cyoksul insan iyidir zengin insan k\u00f6t\u00fcd\u00fcr\u201d gibi kaba bir ayr\u0131ma gitmez. T\u00fcm iyilikleri, dostluklar\u0131 yok eden her kesimden kent insan\u0131d\u0131r. Sait Faik Mahalle Kahvesi <\/em>kitab\u0131n\u0131n S\u00f6ylendim Durdum <\/em>\u00f6yk\u00fcs\u00fcnde \u201cBelki de bu \u015fehre vebalar, belki de bu \u015fehre koleralar gelecek yak\u0131nda\u201d (14) derken \u00f6ng\u00f6r\u00fcl\u00fc bir belirleme yapmaktad\u0131r. Sait Faik ayn\u0131 kitab\u0131nda kentin olumsuz \u00f6zelliklerle y\u00fckl\u00fc insan\u0131n\u0131 tan\u0131tlar. Ona g\u00f6re kentte iyi insanlar olsa da sinmi\u015flerdir. Yazar\u0131n b\u00f6ylece ayn\u0131 \u00f6yk\u00fcde \u00e7izdi\u011fi olumsuz insan tablosuyla y\u00fckl\u00fc toplum ele\u015ftirisi \u015f\u00f6yledir: \u201cBu \u015fehir laubalili\u011fin, k\u00f6t\u00fcl\u00fc\u011f\u00fcn, ikiy\u00fczl\u00fcl\u00fc\u011f\u00fcn kayna\u015ft\u0131\u011f\u0131 bir \u015fehir. \u0130yi insanlar\u0131 yok mu? Dolu. Ama nas\u0131l \u00e7ekilmi\u015fler, nas\u0131l \u00fcrkm\u00fc\u015fler, nas\u0131l kapanm\u0131\u015flar bir yere? Neredeler? Bu \u015fehirde d\u00fc\u015f\u00fcn\u00fclemez. D\u00fc\u015f\u00fcnmek iyi de\u011fil, s\u0131hhate muzurdur. Allah\u2019\u0131 bile d\u00fc\u015f\u00fcnemezsin. D\u00fc\u015f\u00fcnd\u00fcn m\u00fcyd\u00fc kar\u015f\u0131na onun nam\u0131na i\u011fren\u00e7 mecmualar, nefesleri y\u0131rt\u0131k para kokan \u015fairler, \u00f6l\u00fc bekleyen imamlar \u00e7\u0131kar. Avaidini isterler. Ben fukaray\u0131 severim, dersin kendi kendine, yaland\u0131r. Kendin de inanmazs\u0131n. Hangi fukaray\u0131, nas\u0131l fukaray\u0131? Bu canavar gibi dilenci kad\u0131n\u0131 m\u0131? Bu ars\u0131z, edepsiz, huysuz \u00e7ocu\u011fu mu? Bu iki paral\u0131k adam\u0131n \u00f6n\u00fcnde secdeye varan bal\u0131k\u00e7\u0131y\u0131 m\u0131? Yoksa k\u00f6\u015fe ba\u015f\u0131nda oturup \u00e7\u00fcr\u00fcklerini; y\u00fcz\u00fcnden a\u00e7l\u0131\u011f\u0131; kimsesizli\u011fi, hafif\u00e7e delili\u011fi, d\u00fcnyadan b\u0131kk\u0131nl\u0131\u011f\u0131 akan adama yutturan k\u00fclhanbeyi kestaneciyi mi? Kimdir \u015fu sevdi\u011fin insan? Anlad\u0131k fakir, kimsesiz, bahts\u0131z\u2026 Ama kim? Kim olacak sensin. Kendi kendinsin. Evet, bu \u015fehirde herkes d\u00f6n\u00fcp dola\u015f\u0131p kendisinde karar k\u0131lacak. Ba\u015fkas\u0131n\u0131 seven tek adam bulamazs\u0131n. Olmas\u0131na da imkan yoktur. (\u2026) B\u00fct\u00fcn iyilikleri, b\u00fct\u00fcn dostluklar\u0131, tulumba gibi emeriz. Sonra dostluklar, iyilikler de kuyular misali kurur. \u0130\u015fte o zaman ba\u015flar pandomina, kocaman dedikodu.\u201d (15)<\/p>\n

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Sait Faik\u2019in annesiyle birlikte ya\u015fad\u0131\u011f\u0131 Burgazada\u2019daki evi, \u015fimdi Sait Faik M\u00fczesi.<\/figcaption><\/figure>\n

Eme\u011fe sayg\u0131<\/em><\/strong><\/p>\n

Sait Faik Mahalle Kahvesi <\/em>kitab\u0131nda insan kar\u015f\u0131s\u0131nda yaln\u0131zca umutsuzluk g\u00f6r\u00fcmleri \u00e7izen bir yazar de\u011fildir. \u00d6rne\u011fin Uyuz Hastal\u0131\u011f\u0131 Arkas\u0131ndan Hayal <\/em>adl\u0131 \u00f6yk\u00fcs\u00fcne kendi deyi\u015fiyle imge g\u00fcc\u00fcn\u00fc de kar\u0131\u015ft\u0131r\u0131r. B\u00f6ylece insana olan umudunu yans\u0131t\u0131r. Anlat\u0131c\u0131n\u0131n sineman\u0131n \u00f6n\u00fcnde raslad\u0131\u011f\u0131 uyuzlu bir \u00e7ocukla ilgili \u00f6yk\u00fcn\u00fcn sonundaki belirlemesi \u015f\u00f6yledir: \u201cDo\u011frusu bir kad\u0131n neler yapmazd\u0131? Bir hayaldir, bir yaland\u0131r, bir korkun\u00e7 yaland\u0131r ama d\u00fc\u015f\u00fcn\u00fclemez mi? \u2018Bir kad\u0131n bu \u00e7ocu\u011fu al\u0131p evine g\u00f6t\u00fcr\u00fcyor, uyuz merhemini s\u00fcr\u00fcyor, \u00fc\u00e7 be\u015f g\u00fcn evinde tutuyor, sonra isterse yine mikrobun kaynad\u0131\u011f\u0131 soka\u011fa onu tertemiz b\u0131rak\u0131yor\u2026\u2019\u201d (16) Bu \u00f6yk\u00fcs\u00fcnde zorlama gibi dursa da yazar geni\u015f bak\u0131\u015f\u0131 i\u00e7inde insana g\u00fcvenmek ister. Ama toplumdaki insan\u0131 da belli bir nitelikte insan yeti\u015ftirmektedir. Bir meslekte insani niteliklerinden yoksun bir insandan nitelikli bir insan\u0131n \u00e7\u0131kmas\u0131n\u0131 beklemek de g\u00fc\u00e7t\u00fcr. S\u00f6ylendim Durdum<\/em>\u2019da \u015f\u00f6yle der: \u201cManav \u00e7\u0131ra\u011f\u0131n\u0131, bakkal o\u011flunu, t\u00fcccar katibini, gazeteci muharririni b\u00f6yle yeti\u015ftiriyor. Bu \u015fehir b\u00f6yleyken, bu b\u00f6yle s\u00fcr\u00fcp gidecek.\u201d (17) Sait Faik genel toplum ele\u015ftirisinin \u00f6tesinde tek tek insanlar\u0131 anlat\u0131rken olumlu kahramanlar yarat\u0131r. \u00d6rne\u011fin Semaver<\/em>\u2019deki Garson <\/em>\u00f6yk\u00fcs\u00fcndeki garson Ahmet b\u00f6yle biridir. Kendi kahvesini i\u015fletmek ister. Bir s\u00fcre kahve i\u015fletse de bu i\u015ften vazge\u00e7er. B\u00f6ylece \u00f6nceden kalan bu tutkusunu yener, garsonluk yaparak s\u0131radan ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcr\u00fcr. Yazar Ahmet\u2019in h\u0131rs say\u0131labilecek tutkusundan vazge\u00e7ip s\u0131radan ya\u015fama d\u00f6n\u00fc\u015f\u00fcn\u00fc \u015f\u00f6yle verir: \u201c\u015eimdi Ahmet, Belv\u00fc Bah\u00e7esi\u2019nde d\u00fcnyaya hi\u00e7bir \u015feye sahip olmaman\u0131n verdi\u011fi b\u00fcy\u00fck haz i\u00e7inde, d\u00fcnyay\u0131 ve etraf\u0131 istedi\u011fi \u015fekilde g\u00f6rerek ve \u015fu kalabal\u0131\u011f\u0131n i\u00e7inde yaln\u0131z y\u00fczde be\u015f ki\u015finin aln\u0131n\u0131n teriyle \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnerek mesut; pazar g\u00fcnleri y\u00fczde ondan ve y\u00fczde ona eklenen bah\u015fi\u015flerden tam yedi lira yapt\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnerek bu her haziranda tuttu\u011fu sala\u015f kahveyi hat\u0131rlam\u0131yor bile (\u2026) Bu tahavv\u00fcl\u00fcn sebebini kendisi de bilmiyor. Bilmiyor ama, d\u00fcnyada hi\u00e7bir \u015feye sahip olmayaca\u011f\u0131n\u0131, olmak istemedi\u011fini ve olman\u0131n da hi\u00e7bir faydas\u0131 olmad\u0131\u011f\u0131n\u0131, bilakis zarar\u0131n\u0131 Ahmet nas\u0131l oldu da anlad\u0131, bu m\u00fchim meseledir.\u201d (18) Burada h\u0131rslara kap\u0131lmam\u0131\u015f ve s\u0131radan ya\u015fam\u0131n getirdikleriyle mutlu olan s\u0131cak bir insan ki\u015fili\u011fi \u00e7izilir. Sonu\u00e7ta yazara g\u00f6re insan dalavere yapmay\u0131 d\u00fc\u015f\u00fcnmeyen az say\u0131daki insandan biri olup, b\u00f6ylece kendine yeten bir ya\u015fam\u0131 s\u00fcrd\u00fcrebilir. Sait Faik Birtak\u0131m \u0130nsanlar <\/em>roman\u0131nda Fahri\u2019nin ki\u015fili\u011fi \u00fczerinden ger\u00e7ekten ya\u015fama emek verenlerle insan\u0131n kendini \u00f6zde\u015fle\u015ftirdi\u011fini ve onlara kar\u015f\u0131 ac\u0131ma ve utanmayla kar\u0131\u015f\u0131k g\u0131pta duydu\u011funu anlat\u0131r (19). Ger\u00e7ekten ya\u015fama i\u00e7tenlikli bakan bir insan \u00e7al\u0131\u015fanlara kar\u015f\u0131 b\u00f6yle bir yak\u0131nl\u0131k duyabilecektir. Romanda Fahri ren\u00e7berlere kar\u015f\u0131 b\u00f6yle bir duyguda\u015fl\u0131\u011f\u0131 ya\u015far.<\/p>\n

Yazar ya\u015fama i\u00e7tenlikli bak\u0131\u015f\u0131 olmayan kesimleri ayn\u0131 roman\u0131nda \u015f\u00f6yle anlat\u0131r: \u201cBu ren\u00e7berlere bakar g\u00f6z\u00fckenlere gelelim: Bunlar acaba \u2018oh elhamd\u00fclillah! Hayatta muvaffak oldum. Zengin oldum. Toprak kazm\u0131yorum. \u015eu zavall\u0131lara bak! Yarabbim sana hamdolsun! Ya onlar gibi olsayd\u0131m; halim nice olurdu? Nas\u0131l \u00e7al\u0131\u015f\u0131rd\u0131m bu g\u00f6bekle?\u2019 demiyorlar m\u0131? M\u00fckemmel diyorlard\u0131 ama bunu hi\u00e7bir zaman a\u00e7\u0131k\u00e7a s\u00f6yleyemiyorlard\u0131. Bu i\u00e7lerinde yar\u0131 his, yar\u0131 sevin\u00e7, hay\u0131r -bir yar\u0131 hamd halinde \u015fekilleniyordu. Zahirde ise onlar\u0131n bu \u00e7al\u0131\u015fmas\u0131na b\u00fcy\u00fck k\u0131ymet verdiklerini yanlar\u0131ndaki ufak \u00e7ocuklara ya s\u00f6yl\u00fcyorlar, ya resimli kitapta okutuyorlard\u0131. Bunlar hi\u00e7 olmazsa, d\u00fc\u015f\u00fcnenlerdi. En fenas\u0131, en k\u00f6t\u00fc cinsi; lakayt gelip ge\u00e7enlerdi. Bunlar yal\u0131lar\u0131na rahat\u00e7a d\u00f6n\u00fcyorlard\u0131. \u0130\u015ftahlar\u0131 ka\u00e7madan yemek yiyorlar, balkonda \u2018\u00e7e\u015fit\u2019 cigaralardan t\u00fctt\u00fcr\u00fcyorlar, vapurlara \u00e7oluk \u00e7ocuk Frans\u0131zca nidalarla i\u015faret ediyorlar, radyolar\u0131n\u0131n d\u00fc\u011fmesini Paris\u2019e getiriyorlard\u0131. Baz\u0131lar\u0131 da bol sofradan kalkarken: -Allah\u0131m olmayanlara da ver! diyorlard\u0131.\u201d (20) Sait Faik b\u00f6ylece r\u00f6portaj\u0131nda s\u00f6z\u00fcn\u00fc etti\u011fi k\u00f6\u015fk insanlar\u0131n\u0131n i\u00e7tenliksiz ve yapmac\u0131k olabilen tutumlar\u0131n\u0131 roman\u0131nda anlat\u0131r. Bir anlamda yazar\u0131n a\u00e7\u0131klamalar\u0131 toplumda ger\u00e7ek anlamda eme\u011fiyle i\u015f g\u00f6ren belli say\u0131da insan oldu\u011funu bildirirken yine de toplumda bu insanlara tepeden bakmayacak insanlar\u0131n var oldu\u011fudur.\u00a0 Bu anlamda yazar insana g\u00fcven duyan bir yakla\u015f\u0131m sergiler.<\/p>\n

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\u201cYald\u0131zl\u0131 karyolalarda \u00e7ift yatanlar bile tek\u201d<\/em><\/strong><\/p>\n

Sait Faik\u2019in ilk d\u00f6nem \u00f6yk\u00fclerinde soyutla somutun i\u00e7 i\u00e7e ge\u00e7ti\u011fi bir anlat\u0131m buluruz. 1940\u2019lardan sonraki kitaplar\u0131nda daha somut bir anlat\u0131m\u0131 vard\u0131r ve onlarda toplumsal sorunlara da yer yer e\u011filir. Son kitab\u0131 Alemda\u011f\u0131<\/em>\u2019nda Var Bir Y\u0131lan <\/em>(1954) daha soyut bir anlat\u0131m\u0131 olan bir yap\u0131t olmakla birlikte bu \u00f6yk\u00fc kitab\u0131nda da yazar kentteki bozulmaya de\u011finmeden ge\u00e7memi\u015ftir. \u00d6zellikle \u0130stanbul\u2019daki insanlar\u0131n birbirine kar\u015f\u0131 ac\u0131mas\u0131zl\u0131\u011f\u0131 ve yabanc\u0131la\u015fmas\u0131 bu yap\u0131t\u0131nda somut bir bi\u00e7imde dile getirilir. Sait Faik anlat\u0131c\u0131n\u0131n a\u011fz\u0131ndan kitapla ayn\u0131 ad\u0131 ta\u015f\u0131yan \u00f6yk\u00fcs\u00fcnde \u0130stanbul ve insanlar\u0131 i\u00e7in \u015funlar\u0131 s\u00f6yler: \u201cG\u00fcnlerden pazartesi. Yine vapurun alt kamaras\u0131nday\u0131m. Yine hava karl\u0131. Yine \u0130stanbul \u00e7irkin. \u0130stanbul mu? \u0130stanbul \u00e7irkin \u015fehir. Pis \u015fehir. Hele ya\u011fmurlu g\u00fcnlerinde. Ba\u015fka g\u00fcnler g\u00fczel mi, de\u011fil; g\u00fczel de\u011fil. Ba\u015fka g\u00fcnler de K\u00f6pr\u00fcs\u00fc balgaml\u0131d\u0131r. Yan sokaklar\u0131 \u00e7amurludur, molozludur. Geceleri kusmukludur. Evler g\u00fcne\u015fe s\u0131rt\u0131n\u0131 \u00e7evirmi\u015ftir. Sokaklar dard\u0131r. Esnaf\u0131 gaddard\u0131r. Zengini lakaytt\u0131r. \u0130nsanlar her yerde b\u00f6yle. Yald\u0131zl\u0131 karyolalarda \u00e7ift yatanlar bile tek.\u201d (21) Bu \u00f6yk\u00fc kitab\u0131 birbiriyle ba\u011flant\u0131l\u0131 \u00f6yk\u00fclerden olu\u015fur. Anlat\u0131c\u0131n\u0131n imgeleminde kurdu\u011fu arkada\u015f\u0131 Panco da \u00f6yk\u00fclerde s\u0131k s\u0131k kar\u015f\u0131m\u0131za \u00e7\u0131kar. Son \u00f6yk\u00fc Y\u0131lan \u00d6yk\u00fcs\u00fc<\/em>\u2019nde yazar\u0131n soyutlamalar\u0131 artar. Bir ku\u015fu da insanlar aras\u0131ndaki ba\u011f\u0131 kurmas\u0131 i\u00e7in \u00f6yk\u00fcye katar. Bu \u00f6yk\u00fcde anlat\u0131c\u0131 insanlar aras\u0131ndaki kopuklu\u011fu giderme konusunda \u015f\u00f6yle der: \u201cO seni anlarsa de\u011fil, sen onu anlarsan bir \u015feyler olacak. (\u2026) Belki anlamak ikinizin de i\u015fine gelmiyor. \u2018Tan\u0131 tan\u0131, kendini tan\u0131\u2019. \u0130\u015fe ba\u015fla bir kere bu y\u00f6nden. Sonra onu da anlayacaks\u0131n.\u2019\u201d (22) Bu noktada Socrates\u2019in \u00f6\u011fretisini \u00f6nerir. Ama \u00f6yk\u00fcn\u00fcn sonunda yazar bu yap\u0131t\u0131ndaki soyut bak\u0131\u015f\u0131nda bu ba\u011f\u0131 kurmada iki ki\u015fi aras\u0131nda s\u00f6z ta\u015f\u0131yan bir ku\u015f simgesini kullan\u0131r.<\/p>\n

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Sait Faik, efsane piyangocu Uzun \u00d6mer ile r\u00f6portaj yap\u0131yor.<\/figcaption><\/figure>\n

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\u0130nsan\u0131n oldu\u011fu yerde umut var<\/em><\/strong><\/p>\n

Sait Faik ne kadar insani \u00e7arp\u0131kl\u0131klar\u0131 ve ileti\u015fimsizlikleri ele alsa da, ya\u015fam\u0131n sonunda olumlu k\u0131l\u0131naca\u011f\u0131na inan\u0131r. Onu ya\u015fama ba\u011flayan belki de budur. Bunun yan\u0131 s\u0131ra insanlar\u0131n uza\u011f\u0131nda dertleri bir yana b\u0131rakt\u0131\u011f\u0131 anlar vard\u0131r. \u00a0O ruh geni\u015fli\u011fi i\u00e7inde \u015eahmerdan <\/em>kitab\u0131n\u0131n \u00c7elme <\/em>\u00f6yk\u00fcs\u00fcnde \u015f\u00f6yle hayk\u0131r\u0131r: \u201cB\u0131rak\u0131n beni ey hakikatler! Y\u00fcr\u00fcmek istiyorum. Cennetlerin oldu\u011fu yere do\u011fru. Ne a\u00e7\u0131klar\u0131, ne a\u00e7lar\u0131, ne beni k\u0131z\u0131na m\u00fcnasip g\u00f6rmeyen zengin t\u00fcccar\u0131 hi\u00e7bir \u015feyi d\u00fc\u015f\u00fcnmeyece\u011fim. Dertlerimden kime ne? B\u0131rak\u0131n beni harpler\u2026 Kad\u0131nlar\u2026 \u00c7ocuklar\u2026 A\u00e7lar\u2026 Deliler. Y\u00fcr\u00fcmek. \u015eoseden ayr\u0131lan yoldan bir cennete do\u011fru y\u00fcr\u00fcmeye b\u0131rak\u0131n.\u201d (23) Sonunda anlat\u0131c\u0131 yol boyu insanlarla ilgili g\u00f6zlemlerini, onlar\u0131n dertlerini, ya\u015fad\u0131klar\u0131n\u0131 dile getirir. Sonu\u00e7ta gidecek ba\u015fka yer yoktur. Sait Faik \u00f6yk\u00fclerinde ya\u015fam\u0131n olumsuz yanlar\u0131n\u0131 dile getirmekle birlikte, ya\u015famla ilgili hayaller kurmay\u0131 elden b\u0131rakmaz. Sait Faik kab\u0131na s\u0131\u011famayan bir ayd\u0131n olma \u00f6zelli\u011fi i\u00e7inde ger\u00e7ekle\u015fmeyece\u011fini bilse de hayaller kurar. Havada Bulut <\/em>(1951) kitab\u0131n\u0131n B\u00fcy\u00fck H\u00fclyalar Kural\u0131m <\/em>\u00f6yk\u00fcs\u00fcnde hayallerini \u015f\u00f6yle dile getirir: \u201cB\u00fcy\u00fck hayaller kural\u0131m sevgilim! Ben \u015fimdi b\u00f6yle yap\u0131yorum. Tertemiz bir \u015fehirde, asfalt caddeler \u00fcst\u00fcnde, dibinden metrolar ge\u00e7en, \u00fcst\u00fcnden kolosal otob\u00fcsler u\u00e7an, muazzam, e\u011flenceli bir \u015fehirde seninle ya\u015famak istiyorum. Yaz\u0131lar\u0131m bize ya\u015famak i\u00e7in laz\u0131m olan\u0131 getiriyor. B\u00fcy\u00fck kahvelerde \u00e7ay i\u00e7iyor, temiz lokantalarda kolal\u0131 pe\u015fkirlerle yemek yiyor, latif rahiyal\u0131 \u015faraplar i\u00e7iyor, tertemiz bir yatakta seni kollar\u0131m\u0131n aras\u0131na al\u0131yor, sana: -B\u00fct\u00fcn mesut \u015fehir uyudu, uyuyal\u0131m sevgilim, diyorum. Sabahleyin bitlerle dolu, kimsenin kimseye h\u00fcrmet etmedi\u011fi, kimsenin kimseyi h\u00fcrmete lay\u0131k bulmad\u0131\u011f\u0131, istismar edenin, \u00e7alan\u0131n zengin ve bahtiyar oldu\u011fu, esnaf\u0131n\u0131n azg\u0131n, zengininin deli, haris, egoist, gaddar, fakirinin kay\u0131ts\u0131z, sersem oldu\u011fu bir \u015fehirde; i\u015fin k\u00f6t\u00fcs\u00fc sensiz, olduk\u00e7a kirli bir yatakta uyan\u0131yorum. Ama sevgilim, olacak, b\u00fcy\u00fck hayaller kuruyorum.\u201d (24)<\/p>\n

Ona g\u00f6re belli ki insan\u0131n oldu\u011fu yerde umut olacakt\u0131r. O kendisi i\u00e7in hayaller kurarken b\u00fct\u00fcn bir insanl\u0131k i\u00e7in hayaller kuruyor gibidir. Sait Faik \u00f6yk\u00fclerine s\u0131radan insan\u0131n umutlar\u0131n\u0131 ya\u015famdan beklentilerini b\u00f6ylece ta\u015f\u0131r. Bu noktada ad\u0131 an\u0131lmas\u0131 gereken \u00f6yk\u00fclerinden biri de Kumpanya <\/em>(1951) kitab\u0131ndaki ayn\u0131 adl\u0131 \u00f6yk\u00fcs\u00fcd\u00fcr. Bu s\u0131cak ve g\u00fcld\u00fcr\u00fcc\u00fc \u00f6yk\u00fcs\u00fcnde bir tiyatro trupunun hayallerini ve umutlar\u0131n\u0131 ele al\u0131r. Tiyatrocular Saffet Ferit ve K\u00f6r Halit\u2019in \u00f6nderli\u011finde kuracaklar\u0131 tiyatroyla Anadolu turnesine \u00e7\u0131kmaya karar verirler. Bir de iki tiyatrocunun u\u011fruna \u00e7eki\u015fecekleri g\u00fczel bir k\u0131z\u0131 tiyatroya al\u0131rlar. Bu tiyatrocular\u0131n parasal sorunlar\u0131 olsa da kendine g\u00fcvenleri yerindedir. Kendi yeteneklerinin de usta tiyatrocular gibi olmad\u0131\u011f\u0131n\u0131 biliyorlard\u0131r. K\u00f6r Halit Emin\u2019in paras\u0131zl\u0131ktan yak\u0131nmas\u0131yla ilgili \u015fu d\u00fc\u015f\u00fcnceyi ortaya kor: \u201cBo\u015f laf Emin\u2019inki\u2026 Na\u015fit \u015f\u00f6yle yaparm\u0131\u015f\u2026 Herkes Na\u015fit olabilir mi? Olam\u0131yoruz diye de tiyatrodan vaz m\u0131 ge\u00e7ece\u011fiz? Otuz ya\u015f\u0131nda iken bir kumpanya kurmaya karar verdi miydi, bor\u00e7 eder, har\u00e7 eder, kurard\u0131. Para kazanmaz m\u0131yd\u0131? Ne demek kazanmamak?\u201d (25) Sonu\u00e7ta parasal s\u0131k\u0131nt\u0131lar\u0131n\u0131 t\u00fcccar Hasan Tahsin\u2019den bulmaya \u00e7al\u0131\u015f\u0131rlar. Para alma giri\u015fimi ba\u015far\u0131s\u0131z olsa da K\u00f6r Halit\u2019e g\u00f6re akt\u00f6r ya\u015fad\u0131\u011f\u0131 olumsuz durumu \u00e7ok kafaya takmamal\u0131yd\u0131. O \u015f\u00f6yle d\u00fc\u015f\u00fcnd\u00fc: \u201cAkt\u00f6r zay\u0131f adamd\u0131, tecr\u00fcbesizdi. Hayatta b\u00f6yle vakalarla demek hi\u00e7 kar\u015f\u0131 kar\u015f\u0131ya gelmemi\u015fti ki bu kadarla \u00fcz\u00fclebiliyordu. Halbuki \u015f\u00f6yle d\u00fc\u015f\u00fcnmeliydi: Bulursam yerim, bulamazsam s\u00fcrterim. Buldu\u011fum zaman prens, bulmad\u0131\u011f\u0131m zaman b\u00fcy\u00fck akt\u00f6r\u00fcm. Hasan Tahsin denilen namussuz ise, paras\u0131 oldu\u011fu i\u00e7in adamd\u0131r. Olmad\u0131\u011f\u0131 g\u00fcn -hele bir olmaya g\u00f6rs\u00fcn- yeniden k\u00f6pekle\u015fecekti. \u00dcz\u00fclmeye de\u011fmez.\u201d (26) Sonunda turneye \u00e7\u0131karlar. Tiyatro ya\u015famlar\u0131 ba\u015far\u0131s\u0131zl\u0131kla sonlansa bile y\u0131llar sonra bile bu iki tiyatrocu ba\u015fka i\u015flerde \u00e7al\u0131\u015f\u0131rken yeniden tiyatro kuracaklar\u0131 g\u00fcnleri d\u00fc\u015flerler.<\/p>\n

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Serseri tipi<\/em><\/strong><\/p>\n

Kumpanya <\/em>\u00f6yk\u00fcs\u00fcndeki tiyatrocular\u0131n ya\u015fam\u0131 delidolu bir serseri ya\u015fam\u0131d\u0131r. Bu ya\u015fam tarz\u0131 biraz da Sait Faik\u2019in \u00f6yk\u00fclerine uygun d\u00fc\u015fer. Bu ba\u011flamda \u00f6yk\u00fclerinde k\u00fc\u00e7\u00fck g\u00fcld\u00fcr\u00fcc\u00fc \u00f6geler vard\u0131r. \u00d6rne\u011fin Mahalle Kahvesi<\/em>\u2019nde Bilmem Neden B\u00f6yle Yap\u0131yorum<\/em> \u00f6yk\u00fcs\u00fcnde ba\u015fkahraman bir ihtiyar\u0131n kaybedip bulamad\u0131\u011f\u0131 tespihini \u015faka olarak kendi alm\u0131\u015f gibi yapar. \u0130htiyar i\u015fkillenir bir \u015fey s\u00f6yleyemez. Alm\u0131\u015f gibi yapan bu adam k\u00fc\u00e7\u00fck serserili\u011finden \u00e7ok da pi\u015fmanl\u0131k duymaz, e\u011flenir: \u201cZavall\u0131 ihtiyara hem ac\u0131yorum. Hem de g\u00f6z\u00fcn\u00fcn i\u00e7ine, tespihini ben \u00e7alm\u0131\u015f\u0131m da hi\u00e7 utanmazm\u0131\u015f\u0131m gibi bak\u0131yorum. \u00c7ok fena bir hareket biliyorum. Biliyorum ama elimde de\u011fil. Bende bu hali uyand\u0131ran odur. B\u00fct\u00fcn bunlardan sonra yapt\u0131klar\u0131ma pi\u015fman olsam biraz olsun \u00fcz\u00fclsem ya, hay\u0131r!… Kahveyi ge\u00e7tikten sonra i\u00e7in i\u00e7in, bazen ba\u015f\u0131m\u0131 iki tarafa sallayarak a\u00e7\u0131ktan a\u00e7\u0131\u011fa, bir g\u00f6ren olsa deli midir, nedir diyecek \u015fekilde g\u00fclmeme ne dersiniz?\u201d (27) \u00a0Ba\u015fkahraman bu \u00f6yk\u00fcs\u00fcnde kendini \u2018\u00e7almayan h\u0131rs\u0131z\u2019 olarak tan\u0131ml\u0131yor.<\/p>\n

Ayn\u0131 kitaptaki bir ba\u015fka g\u00fcld\u00fcr\u00fcc\u00fc \u00f6yk\u00fcde arkada\u015flar m\u00fczikten \u00e7ok iyi anlad\u0131\u011f\u0131n\u0131 s\u00f6yleyen biriyle i\u00e7erler. Adam Mozart\u2019\u0131n T\u00fcrk Mar\u015f\u0131<\/em>\u2019n\u0131 \u00e7alaca\u011f\u0131n\u0131 s\u00f6yler. Gramofonu kurarlar. Bu \u00f6yk\u00fcn\u00fcn sonu da ilgin\u00e7 bitecektir: \u201cGen\u00e7 musiki delisi bana: -Dinleyin beyim, diyordu. \u0130\u015fitiyor musunuz, T\u00fcrk ak\u0131nc\u0131lar\u0131n\u0131n atlar\u0131n\u0131n sesini? Dinledim. Evet, birtak\u0131m \u00e7\u0131ng\u0131rak sesleri, h\u0131\u015f\u0131rt\u0131lar, karl\u0131 havada berrak \u00e7\u0131kan seslere benzeyen keman sesleri duyuyordum. Plak bitti Arkada\u015f\u0131m g\u00fcl\u00fcmsedi. -Yanl\u0131\u015f \u00e7alm\u0131\u015f\u0131m pla\u011f\u0131, dedi. Bu Mozart\u2019\u0131n Mar\u015f T\u00fcrk\u2019\u00fc de\u011filmi\u015f. \u00c7aykovski\u2019nin bilmem nesiymi\u015f\u2026 Kahkahalar basm\u0131\u015ft\u0131k. Musikiden anlayan arkada\u015f\u0131m\u0131z\u0131 \u015fakaya getirip bir temiz d\u00f6vm\u00fc\u015f, sonunda \u015farap galonunu ba\u015f\u0131ndan a\u015fa\u011f\u0131ya bo\u015falt\u0131vermi\u015ftik.\u201d (28) Sait Faik Havuzba\u015f\u0131 <\/em>(1952) kitab\u0131ndaki Parklar\u0131n Sabah\u0131, Ak\u015fam\u0131, Gecesi<\/em>\u2019nde daha de\u011fi\u015fik bir serseri tipi d\u00fc\u015f\u00fcn\u00fcr. Anlat\u0131c\u0131 kendiyle dertle\u015fmek ve b\u00f6ylece insanlardan uzak bir g\u00fcn ge\u00e7irmek i\u00e7in gitti\u011fi G\u00fclhane Park\u0131\u2019nda b\u00f6yle bir tipi \u015f\u00f6yle d\u00fc\u015f\u00fcn\u00fcr: \u201cHer zaman \u015earlo ruhunda bir serseri d\u00fc\u015f\u00fcn\u00fcr\u00fcm. \u0130nsanlar\u0131 delicesine sever ama onlardan korkar, ka\u00e7ar, hep k\u00f6t\u00fcl\u00fck g\u00f6r\u00fcr, hep itelenir, hep kakalan\u0131r. G\u00fcnd\u00fczleri yaz\u0131hanesi, kahvehanesi, ak\u015fam\u0131 birahanesi G\u00fclhane Park\u0131\u2019d\u0131r. Yaln\u0131z gecelerini halden anlayan bir ihtiyar\u0131n kahvesinde ge\u00e7irebilir. Bir parkede yatar. Yaz geceleri y\u0131ld\u0131zlar\u0131n, k\u0131\u015f geceleri karlar\u0131n alt\u0131ndad\u0131r. Ah, uykular! Parkta uyunan uykular!\u201d (29) Yazar b\u00f6yle bir ki\u015fili\u011fi \u00f6yk\u00fcs\u00fcnde canland\u0131r\u0131r. O da s\u0131cak bir yuva \u00f6zlemindedir. Ancak \u00e7ok ge\u00e7meden de i\u00e7inde bulundu\u011fu ya\u015famdan pek de kopamayaca\u011f\u0131n\u0131 anlayacakt\u0131r. Sait Faik bu serseri tipine biraz yaln\u0131zl\u0131k katm\u0131\u015ft\u0131r.<\/p>\n

\"\"
Sait Faik ve annesi Makbule Abas\u0131yan\u0131k\u2019\u0131n Zincirlikuyu Mezarl\u0131\u011f\u0131\u2019ndaki mezarlar\u0131.<\/figcaption><\/figure>\n

K\u0131rlang\u0131\u00e7 yuvas\u0131ndaki kad\u0131n<\/em><\/strong><\/p>\n

\u00d6l\u00fcm\u00fcnden sonra yay\u0131nlanan Bal\u0131k\u00e7\u0131n\u0131n \u00d6l\u00fcm\u00fc <\/em>kitab\u0131ndaki Bahar\u0131 Aramak<\/em>\u2019da yaln\u0131zl\u0131k temas\u0131 belirgindir. Bu aranan sevgiliye kavu\u015famamakla da ilgilidir. Bu \u00f6yk\u00fcs\u00fcnde \u015f\u00f6yle der: \u201cArt\u0131k ne \u00e7i\u00e7ek\u00e7i camekanlar\u0131n\u0131 s\u00fcsleyen laleler, ne \u015fad\u0131rvanlardaki suyu canland\u0131ran g\u00fcne\u015f, ne g\u00f6\u011fs\u00fc a\u00e7\u0131lm\u0131\u015f k\u0131z, ne \u00e7imenlere burnunu sokmu\u015f \u00e7ocuk, ne g\u00fcne\u015flenen hasta, ne bastonuna dayanm\u0131\u015f, sakin y\u00fcr\u00fcyen ihtiyar, ne bu papatya, ne bu gelincik, ne de ye\u015fil burunlar\u0131n\u0131 g\u00f6stermi\u015f tomurcuklar, yaln\u0131z adama, bahar\u0131n hakikisini getiremezler.\u201d (30) Sait Faik\u2019de yaln\u0131zl\u0131k yaln\u0131zca sevgiliye \u00f6zlem de\u011fil yo\u011fun insan sevgisiyle kar\u0131\u015f\u0131k do\u011frudan insan sevgisiyle ilgilidir. O Son Ku\u015flar<\/em>\u2019da (1952) \u00f6zlemle imgeleminde yarat\u0131p k\u0131rlang\u0131\u00e7 yuvas\u0131na soktu\u011fu kad\u0131n\u0131n \u00e7\u0131kmas\u0131n\u0131 bekler. Yo\u011fun \u00f6zlem duygusu bu \u00f6yk\u00fcde \u015f\u00f6yle dile gelir: \u201cHadi biraz gayret. K\u0131rlang\u0131\u00e7 yuvas\u0131n\u0131n deli\u011finden o kad\u0131n, ba\u015f\u0131n\u0131 \u00e7\u0131kar\u0131verecek.\u201d (31) \u00d6yk\u00fcde k\u0131rlang\u0131\u00e7 yuvas\u0131ndaki kad\u0131n simgesinden giderek asl\u0131nda anlat\u0131c\u0131n\u0131n kahvedeki pek\u00e7ok tan\u0131d\u0131\u011f\u0131n\u0131n gelmedi\u011fini \u00f6\u011freniyoruz. B\u00f6ylece bu \u00f6yk\u00fcde duyulan\u0131n daha \u00e7ok insana \u00f6zlem oldu\u011fu g\u00f6r\u00fcl\u00fcyor. \u0130nsana \u00f6zlemin yo\u011fun insan sevgisiyle \u00f6r\u00fcld\u00fc\u011f\u00fc bir ba\u015fka \u00f6yk\u00fc de yine Son Ku\u015flar<\/em>\u2019daki G\u00fcn Ola Harman Ola <\/em>\u00f6yk\u00fcs\u00fcd\u00fcr. Anlat\u0131c\u0131 boyac\u0131 sand\u0131klar\u0131yla \u00fcnl\u00fc Mercan Usta\u2019yla tan\u0131\u015fmaktan \u00f6te ad\u0131n\u0131 anmaktan bile gurur duydu\u011funu belirtir. Yo\u011fun bi\u00e7imde onunla tan\u0131\u015fma iste\u011fi duyar. Bu biraz mesle\u011fiyle \u00f6zde\u015fle\u015ftirdi\u011fi Mercan Usta\u2019n\u0131n eme\u011fine de bir sayg\u0131d\u0131r. Anlat\u0131c\u0131 ger\u00e7ek sayg\u0131y\u0131 Mercan Usta gibilerin hak etti\u011fini ve yeterli sayg\u0131y\u0131 onun gibilere g\u00f6steremediklerini belirtir: \u201cCan\u0131m Mercan Ustam! Ellerinden h\u00fcrmetle \u00f6perim. Biz de bir zanaat ehliyiz. Yaz\u0131 yaz\u0131yoruz a. Ne Mercan Usta\u2019ya, ne kilimleri dokuyan ellere, ne yazmalar\u0131 boyayanlara, ne kal\u0131plar\u0131 d\u00f6kenlere, ne \u00e7e\u015fmi b\u00fclb\u00fclleri \u00fcfleyenlere sayg\u0131 duyduk. Sayg\u0131 duymad\u0131k da ne oldu? D\u00fcnyay\u0131 birbirine katt\u0131k i\u015fte\u2026 Sofralar\u0131m\u0131z\u0131, kap\u0131lar\u0131m\u0131z\u0131, g\u00f6nl\u00fcm\u00fcz\u00fc kapad\u0131k. Kapad\u0131k da ne ettik? D\u00fcnyay\u0131 birbirine katt\u0131k.\u201d (32)<\/p>\n

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Sait Faik \u00e7ok say\u0131da eser verdi.<\/figcaption><\/figure>\n

\u201cYazar olmasayd\u0131m kahveci olurdum\u201d<\/em><\/strong><\/p>\n

Sait Faik\u2019in b\u00f6ylece yazarl\u0131\u011f\u0131n\u0131 yo\u011fun insan sevgisi besliyordu. Toplum ele\u015ftirilerinde insana kar\u015f\u0131 ac\u0131mas\u0131z olsa da tek tek insana g\u00fcveniyordu. Yazarl\u0131\u011f\u0131n\u0131 insan sevgisinin yan\u0131nda geni\u015f ve \u00f6zg\u00fcr bak\u0131\u015f\u0131na bor\u00e7luydu. Son Ku\u015flar<\/em>\u2019da Bal\u0131k\u00e7\u0131s\u0131n\u0131 Bulan Olta<\/em>\u2019da bunu \u015f\u00f6yle dile getirir: \u201cYaz\u0131 yazmam i\u00e7in bana \u00e7i\u00e7ek, ku\u015f h\u00fcrriyeti de\u011fil, i\u00e7imdeki a\u015fk\u0131n, delili\u011fin, oturmaz d\u00fc\u015f\u00fcncenin h\u00fcrriyeti laz\u0131m. K\u00fc\u00e7\u00fcc\u00fck h\u00fcrriyetler de\u011fil, alabildi\u011fine y\u00fcz verilmi\u015f bir \u00e7ocuk h\u00fcrriyeti istiyordum. Bu bana laz\u0131md\u0131. Yoksa her \u015feyi a\u011fz\u0131mda gevelemekten ba\u015fka ne yapabilirdim?\u201d (33) Yine de yazarl\u0131\u011f\u0131n getirdi\u011fi tedirginlikler \u00f6yk\u00fclerine yans\u0131r. L\u00fczumsuz Adam<\/em>\u2019da \u0130p Meselesi <\/em>\u00f6yk\u00fcs\u00fcnde bu tedirginli\u011fi ba\u015fkahraman ya\u015far. Ba\u015fkahraman yazarl\u0131ktan, yani kimseye kolay kolay benimsetemeyece\u011fi bir i\u015ften para alm\u0131\u015ft\u0131r. Kendisi paray\u0131 al\u0131rken bile \u015fa\u015far. Ama evine d\u00f6nd\u00fc\u011f\u00fcnde annesinin i\u011fneleyici tavr\u0131 ac\u0131d\u0131r: \u201c\u0130\u015finden d\u00f6nm\u00fc\u015f gibi ac\u0131km\u0131\u015fs\u0131n dedi. Duda\u011f\u0131n\u0131n kenar\u0131nda b\u0131\u00e7ak yaras\u0131 gibi bir \u00e7izgiyle g\u00fcld\u00fc.\u201d (34) O Sarn\u0131\u00e7<\/em>\u2019daki Ormanda Uyku <\/em>\u00f6yk\u00fcs\u00fcnde insanlarla i\u00e7lid\u0131\u015fl\u0131 olmaktansa uzaktan insanlar\u0131 g\u00f6zlemleyen bir yazar tipi \u00e7izer. \u00d6yk\u00fcleri halk\u0131n i\u00e7inden yapt\u0131\u011f\u0131 g\u00f6zlemlerden \u00e7\u0131kar\u0131r. \u00d6yk\u00fclerinde s\u0131k\u00e7a ge\u00e7en kahveler bir g\u00f6zlem kayna\u011f\u0131d\u0131r. Bir r\u00f6portaj\u0131nda belki de bu y\u00fczden yazar olmasayd\u0131m kahveci olurdum demi\u015ftir. B\u00f6ylece insanlar\u0131 tan\u0131y\u0131p sevece\u011fini s\u00f6yler (35). Kay\u0131p Aran\u0131yor <\/em>(1953) roman\u0131nda ise ba\u015fkahraman gazeteci Nevin\u2019in itiraf\u0131 belli mesleklerin yazarl\u0131\u011fa \u00f6zenmesinin yazarl\u0131\u011fa yetmedi\u011fini de ortaya koyar: \u201cHer gazetecinin i\u00e7inde ba\u015flang\u0131\u00e7ta kocaman bir romanc\u0131 y\u0131lan\u0131 \u00e7\u00f6reklenmi\u015f uyur. Bu bo\u011fa y\u0131lan\u0131 yava\u015f yava\u015f k\u00fc\u00e7\u00fcl\u00fcr. G\u0131das\u0131zl\u0131ktan \u00f6lmese bile bir solucan haline geliverir g\u00fcn\u00fcn birinde.\u201d (36) Bu roman dalgal\u0131 bir ruh durumu ortaya koyan diplomat k\u0131z\u0131 gazeteci Nevin\u2019in ilgin\u00e7 \u00f6yk\u00fcs\u00fcd\u00fcr.<\/p>\n

Sait Faik sonu\u00e7ta bir \u015fey olma kayg\u0131s\u0131 ta\u015f\u0131mam\u0131\u015f yazarl\u0131\u011f\u0131yla daha \u00e7ok bir tutkusunu yerine getirir gibidir. Bir r\u00f6portaj\u0131nda \u015f\u00f6yle der: \u201c\u00c7ocuklu\u011fumda da ilk gen\u00e7li\u011fimde de bir \u015fey olm\u0131ya de\u011fil olmam\u0131ya karar vermi\u015ftim. S\u00f6z\u00fcm\u00fc tuttum gibime geliyor, siz istedi\u011finiz kadar bana me\u015fhursun deyin.\u201d (37) Bir \u015fey olma duygusunu ya\u015famaktan ka\u00e7man\u0131n yan\u0131 s\u0131ra r\u00f6portajlar\u0131nda g\u00f6r\u00fcld\u00fc\u011f\u00fc kadar kendi yazd\u0131klar\u0131ndan da \u00e7ok ho\u015fnut de\u011fildir. Bu biraz da kendine ele\u015ftirel bakabilen insan\u0131n tutumudur.<\/p>\n

Sait Faik yo\u011fun insan sevgisiyle \u00f6r\u00fclm\u00fc\u015f \u00f6yk\u00fcler yazd\u0131. \u00d6yk\u00fclerinde kimi zaman insan\u0131n g\u00fcld\u00fcr\u00fcc\u00fc yanlar\u0131n\u0131 da yakalay\u0131p okuyucuya verdi. Zaman zaman \u00f6yk\u00fclerinde ya\u015famdaki yaln\u0131zl\u0131klar\u0131 duyurdu. O Havada Bulut<\/em>\u2019da Yorgiya<\/em>\u2019n\u0131n Mahallesi<\/em>\u2019nde \u201cHer yerde belki ya\u015famadan ya\u015fad\u0131m\u201d diyerek bunu yans\u0131t\u0131r. Sait Faik toplumsal s\u0131k\u0131nt\u0131larla ilgili kayg\u0131s\u0131n\u0131 da \u00e7ok\u00e7a dile getirdi. Zaman zaman a\u015f\u0131r\u0131 belirlemeler gibi g\u00f6r\u00fcnse de hep insanl\u0131\u011f\u0131n bug\u00fcn\u00fcn\u00fcn ve gelece\u011finin tedirginli\u011fini ya\u015fad\u0131. Son Ku\u015flar <\/em>kitab\u0131n\u0131n ayn\u0131 adl\u0131 \u00f6yk\u00fcs\u00fcndeki \u015fu c\u00fcmle belki de en iyi bi\u00e7imde onun insanl\u0131kla ilgili kayg\u0131lar\u0131n\u0131 yans\u0131t\u0131yordu: \u201cBizim i\u00e7in de\u011fil ama, \u00e7ocuklar, sizin i\u00e7in k\u00f6t\u00fc olacak. Biz ku\u015flar\u0131 ve ye\u015fillikleri \u00e7ok g\u00f6rd\u00fck. Sizin i\u00e7in k\u00f6t\u00fc olacak. Benden hikayesi.\u201d (38)<\/p>\n

 <\/p>\n

D\u0130PNOTLAR<\/strong><\/p>\n

1) Sait Faik, A\u00e7\u0131k Hava Oteli, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, \u015eubat 1980, s.205.<\/p>\n

2) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006, s.13.<\/p>\n

3) Sait Faik, a.g.e, s.34.<\/p>\n

4) Sait Faik, a.g.e, s.16.<\/p>\n

5) Sait Faik, a.g.e., s.31.<\/p>\n

6) Sait Faik, a.g.e., s.116.<\/p>\n

7) Sait Faik, Birtak\u0131m \u0130nsanlar, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, Aral\u0131k 1965, s.12.<\/p>\n

8) Sait Faik, a.g.e., s.74<\/p>\n

9) Sait Faik, a.g.e., s.13-14.<\/p>\n

10) Sait Faik, a.g.e., s.29.<\/p>\n

11) Sait Faik, a.g.e., s.67.<\/p>\n

12) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006, s.238.<\/p>\n

13) Sait Faik, a.g.e., s.290.<\/p>\n

14) Sait Faik, a.g.e., s.443.<\/p>\n

15) Sait Faik, a.g.e., s.442.<\/p>\n

16) Sait Faik, a.g.e., s.377.<\/p>\n

17) Sait Faik, a.g.e., s.444.<\/p>\n

18) Sait Faik, a.g.e., s.67-68.<\/p>\n

19) Sait Faik, Birtak\u0131m \u0130nsanlar, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, Aral\u0131k 1965, s.152.<\/p>\n

20) Sait Faik, a.g.e., s.152-153.<\/p>\n

21) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006, s.829.<\/p>\n

22) Sait Faik, a.g.e., s.890-891.<\/p>\n

23) Sait Faik, a.g.e., s.196.<\/p>\n

24) Sait Faik, a.g.e., s.482-483.<\/p>\n

25) Sait Faik, a.g.e., s.551.<\/p>\n

26) Sait Faik, a.g.e., s.566.<\/p>\n

27) Sait Faik, a.g.e., s.399.<\/p>\n

28) Sait Faik, a.g.e., s.413.<\/p>\n

29) Sait Faik, a.g.e., s.703.<\/p>\n

30) Sait Faik, Bal\u0131k\u00e7\u0131n\u0131n \u00d6l\u00fcm\u00fc Ya\u015fas\u0131n Edebiyat, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, Aral\u0131k 1999, s.54.<\/p>\n

31) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006, s.803.<\/p>\n

32) Sait Faik, a.g.e., s.752.<\/p>\n

33) Sait Faik, a.g.e., s.759.<\/p>\n

34) Sait Faik, a.g.e., s.310.<\/p>\n

35) Sait Faik, A\u00e7\u0131k Hava Oteli, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, \u015eubat 1980, s.205.<\/p>\n

36) Sait Faik, Sarn\u0131\u00e7 Kay\u0131p Aran\u0131yor, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, May\u0131s 1965, s.208.<\/p>\n

37) Sait Faik, A\u00e7\u0131k Hava Oteli, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, \u015eubat 1980, s.199.<\/p>\n

38) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006, s.725.<\/p>\n

 <\/p>\n

KAYNAK\u00c7A<\/strong><\/p>\n

1) Sait Faik, A\u00e7\u0131k Hava Oteli, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, \u015eubat 1980.<\/p>\n

2) Sait Faik, Bal\u0131k\u00e7\u0131n\u0131n \u00d6l\u00fcm\u00fc Ya\u015fas\u0131n Edebiyat, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, Aral\u0131k 1999.<\/p>\n

3) Sait Faik, Birtak\u0131m \u0130nsanlar \u015eimdi Sevi\u015fme Vakti, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, Aral\u0131k 1965.<\/p>\n

4) Sait Faik, L\u00fczumsuz Adam Az \u015eekerli, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, A\u011fustos 1965.<\/p>\n

5) Sait Faik, Mahalle Kahvesi T\u00fcneldeki \u00c7ocuk, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, A\u011fustos 1965.<\/p>\n

6) Sait Faik, M\u00fcthi\u015f Bir Tren, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, Ekim 2000.<\/p>\n

7) Sait Faik, \u00d6yle Bir Hikaye, \u0130stanbul, Yap\u0131 Kredi Yay\u0131nlar\u0131,\u00a0 May\u0131s 2006.<\/p>\n

8) Sait Faik, Sarn\u0131\u00e7 Kay\u0131p Aran\u0131yor, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, May\u0131s 1965.<\/p>\n

9) Sait Faik, Sevgiliye Mektup, Edit\u00f6r: Muzaffer Uyguner, \u0130stanbul, Bilgi Yay\u0131nevi, Eyl\u00fcl 1999.<\/p>\n

10) Sait Faik, Son Ku\u015flar Mahkeme Kap\u0131s\u0131, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, Eyl\u00fcl 1965.<\/p>\n

11) Sait Faik, \u015eahmerdan Havada Bulut, \u0130stanbul, Varl\u0131k Yay\u0131nlar\u0131, Haziran 1965.<\/p>\n","protected":false},"excerpt":{"rendered":"

Sait Faik yo\u011fun insan sevgisiyle \u00f6r\u00fclm\u00fc\u015f \u00f6yk\u00fcler yazd\u0131. \u00d6yk\u00fclerinde kimi zaman insan\u0131n g\u00fcld\u00fcr\u00fcc\u00fc yanlar\u0131n\u0131 da yakalay\u0131p okuyucuya verdi. Zaman zaman \u00f6yk\u00fclerinde ya\u015famdaki yaln\u0131zl\u0131klar\u0131 duyurdu. Havada Bulut\u2019da Yorgiya\u2019n\u0131n Mahallesi\u2019nde \u201cHer yerde belki ya\u015famadan ya\u015fad\u0131m\u201d diyerek bunu yans\u0131t\u0131r. Toplumsal s\u0131k\u0131nt\u0131larla ilgili kayg\u0131s\u0131n\u0131 da \u00e7ok\u00e7a dile getirdi. Zaman zaman a\u015f\u0131r\u0131 belirlemeler gibi g\u00f6r\u00fcnse de hep insanl\u0131\u011f\u0131n bug\u00fcn\u00fcn\u00fcn ve […]<\/p>\n","protected":false},"author":273,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[111,545,222],"tags":[724],"class_list":["post-10940","post","type-post","status-publish","format-standard","hentry","category-74-sayi","category-edebiyat","category-tarih","tag-sait-faik"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t