{"id":9835,"date":"2009-04-01T18:11:46","date_gmt":"2009-04-01T15:11:46","guid":{"rendered":"http:\/\/109.232.216.219\/~bilimvegelecek\/?p=9835"},"modified":"2017-05-21T18:18:02","modified_gmt":"2017-05-21T15:18:02","slug":"birey-toplum-diyalektiginde-steinbeckin-sanati-1","status":"publish","type":"post","link":"https:\/\/bilimvegelecek.com.tr\/index.php\/2009\/04\/01\/birey-toplum-diyalektiginde-steinbeckin-sanati-1","title":{"rendered":"Birey &#8211; toplum diyalekti\u011finde Steinbeck\u2019in sanat\u0131 &#8211; 1"},"content":{"rendered":"<p><em>Bu makalede, Amerikan edebiyat\u0131n\u0131n d\u00fcnyaca sevilen yazarlar\u0131ndan John Steinbeck\u2019in (1902-1968) bireye ve topluma bak\u0131\u015f\u0131 belli a\u00e7\u0131lardan d\u00f6nem d\u00f6nem inceleniyor. Makalenin bu ilk b\u00f6l\u00fcm\u00fcnde, yazar\u0131n yap\u0131tlar\u0131ndan Cup of Gold (Alt\u0131n Kupa), To A God Unknown (Bilinmeyen Bir Tanr\u0131ya), Tortilla Flat (Yukar\u0131 Mahalle), Cannery Row (Sardalye Soka\u011f\u0131), Sweet Thursday (Tatl\u0131 Per\u015fembe), In Dubious Battle (Bitmeyen Kavga) ve Grapes Wrath (Gazap \u00dcz\u00fcmleri) birey-toplum diyalekti\u011fi ba\u011flam\u0131nda ele al\u0131n\u0131yor.<\/em><\/p>\n<p><em>\u00a0<\/em>Amerikan edebiyat\u0131n\u0131n d\u00fcnyaca sevilen yazarlar\u0131ndan John Steinbeck\u2019in (1902-1968) bireye ve topluma bak\u0131\u015f\u0131 belli a\u00e7\u0131lardan d\u00f6nem d\u00f6nem incelenebilir. Yazar\u0131n ilk d\u00f6nemi denilebilecek yani 1930\u2019lar\u0131n ortalar\u0131na kadar uzanan d\u00f6nemde gizemci, dolay\u0131s\u0131yla daha \u00e7ok duygucu \u00e7al\u0131\u015fmalar ortaya koydu\u011funu g\u00f6r\u00fcyoruz. \u015eakac\u0131 bir dil ta\u015f\u0131makla birlikte, bu gizemci yan yazar\u0131n ikinci \u00e7al\u0131\u015fmas\u0131 Kaliforniya\u2019daki ayn\u0131 b\u00f6lge insanlar\u0131n\u0131 konu alan 12 \u00f6yk\u00fcl\u00fck <em>Pastures of Heaven<\/em>\u2019da da (<em>Cennet \u00c7ay\u0131rlar\u0131<\/em>; 1932) g\u00f6r\u00fclebilir. Yazar\u0131n en verimli d\u00f6neminde, yani 1930\u2019lardan 1950\u2019lerin ba\u015flar\u0131na kadar uzanan d\u00f6nemde daha \u00e7ok toplum sorunlar\u0131na a\u011f\u0131rl\u0131k verdi\u011fini ve do\u011fadaki insan\u0131 anlatmaya y\u00f6neldi\u011fini g\u00f6r\u00fcyoruz. Steinbeck\u2019in b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ahlaki bak\u0131\u015f\u0131n\u0131 yans\u0131tt\u0131\u011f\u0131 ve uzun s\u00fcre tasarlad\u0131\u011f\u0131, kendisinin de \u00f6nemli bir \u00e7al\u0131\u015fma olarak g\u00f6rd\u00fc\u011f\u00fc <em>East of Eden<\/em> (<em>Cennet Yolu<\/em>; 1952) yazar\u0131n veriminin azald\u0131\u011f\u0131 d\u00f6nemin \u00f6ncesinde yay\u0131mlad\u0131\u011f\u0131 son kitapt\u0131r. 1950\u2019lerin sonras\u0131ndaki d\u00f6nemde yazar\u0131n bireyci bak\u0131\u015f\u0131 s\u00fcrmekle birlikte, ilk d\u00f6nemindeki yo\u011fun gizemcili\u011fe kap\u0131lmad\u0131\u011f\u0131n\u0131 ve daha ger\u00e7ek\u00e7i bir bak\u0131\u015f\u0131 oldu\u011funu g\u00f6r\u00fcyoruz.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u0130lk d\u00f6neminde yazar da kahramanlar\u0131 da toplumd\u0131\u015f\u0131d\u0131r<\/em><\/strong><\/p>\n<p>Steinbeck\u2019in ilk iki roman\u0131 toplumd\u0131\u015f\u0131 iki ki\u015filikle ilgilidir. Yazar\u0131n birbirinden ayr\u0131 bu iki kitaptaki ba\u015fkahramanlar\u0131 s\u0131rad\u0131\u015f\u0131 insanlard\u0131r. Bu durum yazar\u0131n iki romana da gizemci bir hava y\u00fcklemesini kolayla\u015ft\u0131r\u0131r. Ancak Steinbeck hangi insan\u0131 ele al\u0131rsa als\u0131n, \u00f6zg\u00fcn yanlar\u0131 olan ki\u015filikleri \u00f6ne \u00e7\u0131kar\u0131r. Bu ki\u015filikler \u00e7o\u011funlukla da kahraman nitelemesine uygun ki\u015filikler olacakt\u0131r.<\/p>\n<p>Yay\u0131nc\u0131 Robert Ballou\u2019ya Montrose\u2019den yazd\u0131\u011f\u0131 11 \u015eubat 1933 tarihli mektubunda Steinbeck \u015f\u00f6yle der: \u201cBir memurun ya\u015fam\u0131 beni ilgilendirmiyor. Bir memur bir kahraman olursa o ba\u015fka.\u201d (1) Bu yaln\u0131z kalm\u0131\u015f kahramanlar\u0131 kurgulayan Steinbeck, bir yandan \u00e7e\u015fitli i\u015flerde \u00e7al\u0131\u015f\u0131p ilk roman\u0131n\u0131 yazarken bir yandan da Kaliforniya\u2019da Tahoe G\u00f6l\u00fc yak\u0131nlar\u0131nda kald\u0131\u011f\u0131 yerde yaln\u0131zl\u0131k korkusunu yenmeye \u00e7al\u0131\u015f\u0131r, bu durumu oradan Stanford \u00dcniversitesi\u2019nden arkada\u015f\u0131 Webster F. Street\u2019e 1926\u2019da yazd\u0131\u011f\u0131 bir mektubunda k\u0131\u015f aylar\u0131nda anlat\u0131yordu. (2)<\/p>\n<p>Belki de bu \u00e7abas\u0131 olumlu oldu. \u00c7\u00fcnk\u00fc John Steinbeck\u2019in sonraki edebiyat ya\u015fam\u0131nda yaln\u0131z kalma korkusu pek ya\u015famad\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcyor. Bu konuyla ilgili olarak yazar\u0131n 26 Aral\u0131k 1958\u2019de yay\u0131nc\u0131s\u0131 Pascal Covici\u2019ye New York\u2019dan yazd\u0131\u011f\u0131 mektuptaki bak\u0131\u015f a\u00e7\u0131s\u0131 \u015f\u00f6yledir: \u201cBu i\u015fte insan hep yaln\u0131zd\u0131r. Zorluk, yaln\u0131z olmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn zaman ba\u015flar. Topluluk i\u00e7inde yapabilece\u011fin bir \u015fey de\u011fil bu. Ailenle, evlili\u011finle, dostlar\u0131nla, e\u011flenceyle de bir ilgisi yok. Bu nedenlerle yazarlarla birlikte ya\u015famak zordu. Onlarla dostluk kurmak olanaks\u0131zd\u0131r. Yazarla kitab\u0131, t\u0131pk\u0131 h\u0131r\u00e7\u0131n bir k\u00f6pekle kemi\u011fi gibidir. Yazar huysuzdur, herkesten ku\u015fkulan\u0131r, kimseye g\u00fcvenmez, kimseyi sevmez. B\u00f6yle bir ya\u015fam\u0131 onaylamak \u00e7ok zor, ama iyi bir yazar b\u00f6yle oluyor i\u015fte.\u201d (3)<\/p>\n<p>Steinbeck\u2019in biraz abart\u0131l\u0131 da olsa bu bak\u0131\u015f\u0131ndan yazarl\u0131\u011f\u0131n biraz toplumd\u0131\u015f\u0131l\u0131k gerektirdi\u011fi g\u00f6r\u00fc\u015f\u00fc \u00e7\u0131k\u0131yor. Bununla birlikte Steinbeck ilk iki yap\u0131t\u0131nda kahramanlar\u0131n\u0131 b\u00fcy\u00fck \u00f6l\u00e7\u00fcde toplumd\u0131\u015f\u0131 ki\u015filerden se\u00e7er. Bu romanlardaki ki\u015filikler ger\u00e7ekten ama\u00e7lar\u0131n\u0131n pe\u015finde \u00e7evrelerindeki kimselere ald\u0131rmayan insanlard\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Ulvi d\u00fc\u015flerin pe\u015finde yaln\u0131z bir adam: \u201cAlt\u0131n Kupa\u201dn\u0131n Kaptan Morgan\u2019\u0131<\/em><\/strong><\/p>\n<p>\u00d6rne\u011fin bu ba\u011flamda \u00f6ncelikle Steinbeck ilk roman\u0131 <em>Cup of Gold<\/em>\u2019daki (Alt\u0131n Kupa; 1929) Kaptan Morgan\u2019\u0131n \u00f6yk\u00fcs\u00fcne bak\u0131labilir. Bu roman 17. y\u00fczy\u0131lda \u0130ngiltere Kral\u0131 Charles I d\u00f6neminin \u00fcnl\u00fc korsanlar\u0131ndan Henry Morgan\u2019\u0131 konu al\u0131r. Morgan babas\u0131 gibi s\u0131radan bir \u00e7ift\u00e7i ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcrebilecek kimse de\u011fildir. \u00d6n\u00fcndeki d\u00fcnya onun i\u00e7in u\u00e7suz bucaks\u0131z bir bilinmeyendir. Morgan ya\u015fam\u0131 edindi\u011fi deneylerle yeni topraklarda tan\u0131mak isteyecektir. B\u00fcy\u00fcc\u00fc Merlin onu kalmas\u0131 i\u00e7in ikna etmeye \u00e7al\u0131\u015fsa da, sonunda pes eder ve ona \u015f\u00f6yle der: \u201cK\u00fc\u00e7\u00fck bir \u00e7ocuksun sen. Aydan i\u00e7ki i\u00e7mek istemektesin, t\u0131pk\u0131 alt\u0131n bir kupadan i\u00e7ki i\u00e7er gibi. Bu y\u00fczden g\u00f6r\u00fcnen odur ki, b\u00fcy\u00fck bir adam olacaks\u0131n&#8230; e\u011fer k\u00fc\u00e7\u00fck bir \u00e7ocuk olarak kalabilirsen. D\u00fcnyadaki t\u00fcm b\u00fcy\u00fck adamlar ay\u0131 ele ge\u00e7irmek isteyen k\u00fc\u00e7\u00fck \u00e7ocuklard\u0131; ko\u015fturur, y\u00fckseklere t\u0131rman\u0131rlard\u0131. Kimi kez bir ate\u015fb\u00f6ce\u011fi yakalam\u0131\u015flard\u0131r. Ama insan b\u00fcy\u00fcy\u00fcp eri\u015fkin bir adam gibi d\u00fc\u015f\u00fcnmeye ba\u015flad\u0131\u011f\u0131nda ay\u0131n ele ge\u00e7irilmeyece\u011fini anlamak zorunda kal\u0131r; elde edilebilecek bile olsa istemez onu; bu y\u00fczden de hi\u00e7 ate\u015fb\u00f6ce\u011fi yakalayamaz.\u201d (4)<\/p>\n<p>Morgan g\u00f6r\u00fcn\u00fcr insani ama\u00e7lar pe\u015finde de\u011fildir. B\u00fcy\u00fck bir korsan olmak, alt\u0131n kupay\u0131 ele ge\u00e7irmek ya da efsanele\u015fmi\u015f K\u0131z\u0131l Azize\u2019ye sahip olmak ister. Bir anlamda insani ama\u00e7lar\u0131n d\u0131\u015f\u0131na \u00e7\u0131km\u0131\u015f ve i\u015fi gere\u011fi toplumd\u0131\u015f\u0131 kalm\u0131\u015f bir Kaptan Morgan, Albert Camus\u2019n\u00fcn <em>Caligula<\/em> oyunundaki Caligula\u2019y\u0131, az \u00e7ok akl\u0131 ba\u015f\u0131nda bir Caligula\u2019y\u0131 an\u0131msat\u0131r. Yine de Steinbeck\u2019in aktard\u0131\u011f\u0131 Morgan adeta yar\u0131- Tanr\u0131 olmaya s\u00fcr\u00fcklenmi\u015f ve art\u0131k o yoldan d\u00f6nemeyecek biridir.<\/p>\n<p>K\u00e2hin gizemli bir dille Morgan\u2019a ula\u015faca\u011f\u0131 noktay\u0131 \u015f\u00f6yle g\u00f6sterir: \u201cAma o ki\u015fi ki, elinde aya uzan\u0131rken yakalanm\u0131\u015f bir ate\u015fb\u00f6ce\u011fi gizler; iki kat\u0131 yaln\u0131zd\u0131r. Ger\u00e7ek ba\u015far\u0131s\u0131zl\u0131\u011f\u0131n\u0131 kavrayabilen yaln\u0131zca odur; ancak o kavrayabilir a\u015fa\u011f\u0131l\u0131k oldu\u011funu, korktu\u011funu, ka\u00e7t\u0131\u011f\u0131n\u0131. B\u00fcy\u00fckl\u00fc\u011f\u00fcne ula\u015facaks\u0131n sen; olabilir ki, zamanla b\u00fcy\u00fckl\u00fc\u011f\u00fcnde bir ba\u015f\u0131na kalacaks\u0131n, hi\u00e7bir yerde tek dostun olmayacak; bir tek sayg\u0131yla, korkuyla ya da hayranl\u0131kla sana yap\u0131\u015fanlar bulunacak \u00e7evrende. Temiz, duru g\u00f6zlerini \u00f6zlemle yukar\u0131ya diken delikanl\u0131, \u00fcz\u00fcl\u00fcyorum senin i\u00e7in. Senin i\u00e7in \u00fcz\u00fcl\u00fcyorum ve&#8230; ah Tanr\u0131m, nice imreniyorum sana!\u201d (5)<\/p>\n<p>Morgan hedefini belirlemi\u015ftir ve b\u00fcy\u00fck bir korsan olmak i\u00e7in ortaya koydu\u011fu t\u00fcm birikimi ya\u015fam\u0131n \u00f6n\u00fcne \u00e7\u0131kard\u0131\u011f\u0131 rastlant\u0131lar\u0131 da kullanarak ger\u00e7ekle\u015ftirir. Ancak Morgan do\u011fal olarak s\u0131radan insan olman\u0131n ne demek oldu\u011funu bilmez. Herkesin yak\u0131n\u0131nda g\u00fcvenebilece\u011fi bir dosta gereksinimi vard\u0131r. O da b\u00fcy\u00fck h\u0131rslar\u0131 olmayan, ya\u015fam\u0131n tad\u0131n\u0131 bilen Coeur de Gris\u2019yle yak\u0131nl\u0131k kurar. Coeur de Gris de onun yan\u0131nda ikinci adam olmay\u0131 ba\u015far\u0131r. Ancak Coeur de Gris, Morgan\u2019a \u015fu yakla\u015f\u0131m\u0131yla ger\u00e7ekleri g\u00f6sterdi\u011finde, g\u00f6r\u00fcn\u00fc\u015fteki bu dostluk da uzun s\u00fcreli olmayacakt\u0131r: \u201cElbette; size g\u00f6re duygular\u0131n\u0131z yeni \u015feylerdir, \u00e7ok \u00f6nemli yeni bulu\u015flard\u0131r. Ba\u015far\u0131s\u0131zl\u0131klar\u0131n\u0131z\u0131n e\u015fi benzeri yoktur. Bu devasa kibir y\u00fcz\u00fcnden arkan\u0131zdaki \u015fu Cockney\u2019in&#8230; evet zaman zaman n\u00f6bet ge\u00e7irip yere yuvarlanan \u015fu adam\u0131n sizinkilerle ayn\u0131 umutlar\u0131, umutsuzluklar\u0131 oldu\u011funa inanamazs\u0131n\u0131z. Bu adamlar\u0131n sizin kadar derin duygular\u0131 oldu\u011funa inanamazs\u0131n\u0131z. Desem ki size o kad\u0131n\u0131 en az sizin kadar istiyorum, ya da La Santa Roja\u2019ya sizden daha tatl\u0131 s\u00f6zler s\u00f6yleyebilirim, inanmaz g\u00fcler ge\u00e7ersiniz.\u201d (6)<\/p>\n<p>Steinbeck\u2019in bu roman\u0131 \u00e7evresindeki herkesi kullanabilece\u011fi biri olarak g\u00f6ren benmerkezci yap\u0131da, hatta biraz da giri\u015fti\u011fi i\u015f gere\u011fi b\u00f6yle olmas\u0131 zorunlu olan bir insan\u0131 konu edinir. Steinbeck\u2019in yaratt\u0131\u011f\u0131 bu kahraman, romanda \u00e7eli\u015fkili bir g\u00f6r\u00fcnt\u00fc \u00e7izer. Kahraman bir yanda yapt\u0131\u011f\u0131 i\u015fin bo\u015flu\u011funu duyup bundan rahats\u0131z olur, \u00f6b\u00fcr yanda \u0130ngiltere\u2019de siyasi g\u00fcc\u00fcn korsanl\u0131\u011f\u0131 b\u0131rakmas\u0131n\u0131 zorunlu k\u0131lmas\u0131yla bu i\u015fi b\u0131rakmak zorunda olman\u0131n s\u0131k\u0131nt\u0131s\u0131n\u0131 duyar.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Yaln\u0131zl\u0131\u011f\u0131na \u00e7areyi do\u011fada arayan bir adam: \u201cBilinmeyen Bir Tanr\u0131ya\u201dn\u0131n Joseph\u2019i<\/em><\/strong><\/p>\n<p>Steinbeck\u2019in ikinci roman\u0131 <em>To A God Unknown<\/em> (Bilinmeyen Bir Tanr\u0131ya; 1933) daha yo\u011fun bir gizemcilik ve dolay\u0131s\u0131yla daha yo\u011fun bir duygusall\u0131k ta\u015f\u0131r. Bu romanda Steinbeck do\u011faya \u00f6b\u00fcr romanlar\u0131n\u0131n tersine daha derin bir anlam y\u00fckler. Steinbeck\u2019in bu roman\u0131 pek \u00e7ok roman\u0131 gibi b\u00fcy\u00fcd\u00fc\u011f\u00fc yer olan Kaliforniya\u2019da ge\u00e7er. Ba\u015fkahraman Joseph ailesini b\u0131rak\u0131p kendine daha iyi ko\u015fullar sa\u011flamak \u00fczere bat\u0131ya, Kaliforniya\u2019ya gider. Amac\u0131 burada kendi topra\u011f\u0131n\u0131 i\u015fletmektir. Joseph yazar\u0131n ilk romandaki kahraman\u0131 Morgan gibi amac\u0131n\u0131n pe\u015finde \u00e7evresini \u00f6nemsemez. Yazar kahraman\u0131n benzer benmerkezci ki\u015fili\u011fini dolayl\u0131 olarak \u015f\u00f6yle yans\u0131t\u0131r: \u201c\u00c7evresindeki her \u015fey, toprak, hayvanlar ve insanlar \u00fcretkendi. Joseph ise kaynakt\u0131, onlar\u0131n \u00fcretkenliklerinin temeliydi, harekete ge\u00e7iren ihtiras kendisininkiydi. \u00c7evresindeki her \u015feyin h\u0131zla b\u00fcy\u00fcmesini, gebe kalmas\u0131n\u0131 ve \u00e7o\u011falmas\u0131n\u0131 istiyordu. En korkun\u00e7 g\u00fcnah k\u0131s\u0131rl\u0131kt\u0131, ba\u011f\u0131\u015flanmaz ve katlan\u0131lmaz g\u00fcnaht\u0131 bu.\u201d (7)<\/p>\n<p>Steinbeck ilk yap\u0131tlar\u0131ndaki bu iki kahraman\u0131 toplumd\u0131\u015f\u0131 yanlar\u0131yla ortaya koyarken onlara belli bir duyguda\u015fl\u0131kla yakla\u015f\u0131r. Ancak yazar yine de onlar\u0131n toplumd\u0131\u015f\u0131l\u0131klar\u0131n\u0131 a\u00e7\u0131k \u00f6rneklerle yans\u0131tmaktan ka\u00e7\u0131nmaz. <em>Alt\u0131n Kupa<\/em>\u2019da Morgan s\u0131rad\u0131\u015f\u0131 bir insana d\u00f6n\u00fc\u015f\u00fcp \u00e7evresinden koparken yine de kendisine g\u00fcven duygusu verecek birini arar. Coeur de Gris\u2019nin dostlu\u011fu bu durumu sa\u011flayacakt\u0131r. Ancak yankahraman\u0131n bu \u00f6zellikleri hem onu kaptana yakla\u015ft\u0131rm\u0131\u015f hem sonunda ondan uzakla\u015ft\u0131rm\u0131\u015ft\u0131r: \u201cBu gen\u00e7 adam Kaptan Morgan\u2019\u0131n buyruklar\u0131na g\u00fcl\u00fcmseyerek kar\u015f\u0131l\u0131k veriyordu. G\u00f6zlerinde sayg\u0131 vard\u0131 elbette, ama korku, k\u0131skan\u00e7l\u0131k, ku\u015fku yoktu.\u201d (8) Kaptan sonunda ya\u015fam\u0131n her an\u0131n\u0131 duyumsayan b\u00f6ylesine a\u00e7\u0131k y\u00fcrekli bir adama dayanamam\u0131\u015ft\u0131r. Bununla birlikte <em>Bilinmeyen Bir Tanr\u0131ya<\/em>\u2019n\u0131n ba\u015fkahraman\u0131 Joseph ayr\u0131 bir bak\u0131\u015f i\u00e7inde do\u011faya kendini adarken yaln\u0131zl\u0131\u011f\u0131n\u0131 giderecek ve Morgan\u2019\u0131n arad\u0131\u011f\u0131 g\u00fcvenin benzerini daha gizemli bir g\u00f6r\u00fcn\u00fcm alt\u0131nda do\u011fada arayacakt\u0131r. B\u00f6ylece babas\u0131 \u00f6ld\u00fckten sonra onun ruhunu bah\u00e7esindeki a\u011fa\u00e7ta ya\u015fatacakt\u0131r. Onunla dertle\u015fip, ondan destek arayacakt\u0131r.<\/p>\n<p>Steinbeck\u2019in genel olarak romanlar\u0131nda do\u011fayla b\u00fct\u00fcnle\u015fmi\u015f, hatta do\u011fadaki canl\u0131larla b\u00fct\u00fcnle\u015fmi\u015f insan fikri vard\u0131r. Ancak bu romanda daha gizemci bir bi\u00e7imde bu konu ana tema olarak ele al\u0131nm\u0131\u015ft\u0131r. Bu ilk d\u00f6nem ba\u015fkahramanlar\u0131, Steinbeck\u2019in daha sonraki ve \u00f6zellikle son d\u00f6nem \u00e7al\u0131\u015fmalar\u0131nda kar\u015f\u0131m\u0131za \u00e7\u0131kan \u00e7evresindeki insan\u0131n s\u0131k\u0131nt\u0131lar\u0131na duyarl\u0131 insan tipini g\u00f6stermese de, bu kahramanlar kararl\u0131 ve tasarlad\u0131\u011f\u0131 yolu sapmadan izleyen \u00f6zg\u00fcn ki\u015filikler olarak \u00e7izilmi\u015flerdir. Steinbeck\u2019in bu ki\u015filiklerle duyguda\u015fl\u0131\u011f\u0131 da bu noktada olmal\u0131d\u0131r. Yine de bu derece kendini yaln\u0131zl\u0131\u011fa iten ki\u015filikler do\u011fal olarak melankolik bir hava ta\u015f\u0131rlar.<\/p>\n<p>Bunun d\u0131\u015f\u0131nda bu gizemci hava i\u00e7inde Steinbeck\u2019in dinselli\u011fe vurgu yapt\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclmemelidir. Joseph do\u011faya bir Tanr\u0131sall\u0131k y\u00fckler. Bununla birlikte gizemci \u00f6zellikleri bir yana b\u0131rak\u0131l\u0131rsa, roman tamamen insan\u0131n do\u011fan\u0131n par\u00e7as\u0131 oldu\u011funu ve insan\u0131n da do\u011fal d\u00f6ng\u00fcye kat\u0131ld\u0131\u011f\u0131n\u0131 duyurur. Sonu\u00e7ta Steinbeck\u2019in bak\u0131\u015f a\u00e7\u0131s\u0131na g\u00f6re insan i\u015fledi\u011fi eylemlerin vicdani sorgusunu bu d\u00fcnyada kendi kendine yapacakt\u0131r. \u00d6rne\u011fin Kaptan Morgan papaz\u0131n g\u00fcnah \u00e7\u0131kartmas\u0131n\u0131 istemesi kar\u015f\u0131s\u0131nda Steinbeck\u2019in konuya bak\u0131\u015f\u0131n\u0131 \u015f\u00f6yle duyurur: \u201cOnlar\u0131n aras\u0131nda yaln\u0131zca en zevklilerini, en ac\u0131 verenleri an\u0131ms\u0131yorum. Nedense zevk verenler i\u00e7in t\u00f6vbe etmek istemiyorum. Onlara olan inanc\u0131m\u0131 yitirmem olur bu; \u00e7ok g\u00fczeldiler. Ac\u0131 veren g\u00fcnahlarsa yanlar\u0131nda sakl\u0131 b\u0131\u00e7aklar gibi kefaretlerini de ta\u015f\u0131yorlard\u0131. Nas\u0131l t\u00f6vbe edebilirim efendim? T\u00fcm ya\u015fam\u0131m\u0131 yeniden g\u00f6zden ge\u00e7irebilir, ilk di\u015f ka\u015f\u0131ma halkam\u0131n par\u00e7alan\u0131\u015f\u0131ndan bir geneleve son gidi\u015fime de\u011fin her yapt\u0131\u011f\u0131m\u0131n ad\u0131n\u0131 vererek t\u00f6vbe getirebilirim. An\u0131msayabildi\u011fim her \u015feyden pi\u015fmanl\u0131k duyabilirim, ama tek bir g\u00fcnah\u0131m\u0131 bile unutsam t\u00fcm yapt\u0131\u011f\u0131m bo\u015fa gitmi\u015f olur.\u201d (9)<\/p>\n<p>Steinbeck bu y\u00fcrekli kahramanlar\u0131yla ilk d\u00f6nemlerinde yeterli ilgiyi \u00e7ekememi\u015ftir, ancak yersiz ele\u015ftiri ve \u00f6vg\u00fcleri bir yana koyup \u00e7abas\u0131n\u0131 s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Bu konuda 1931\u2019de Pacific Grove\u2019dan yazd\u0131\u011f\u0131 mektubunda George Albee\u2019ye \u015funlar\u0131 s\u00f6yler: \u201cKendini aldatma George, \u00f6vg\u00fcler bir sanat\u00e7\u0131 yaratmaz. Tam tersine, sanat\u00e7\u0131y\u0131 \u00f6ld\u00fcr\u00fcr. Bir insan\u0131n en iyi yap\u0131t\u0131, ad\u0131n\u0131n duyulmas\u0131 i\u00e7in \u00e7aba g\u00f6sterdi\u011fi s\u0131ralarda yaratt\u0131\u011f\u0131 yap\u0131tt\u0131r. Kalabal\u0131klar\u0131n bir imza i\u00e7in bekle\u015fti\u011fi zamanlar ortaya koydu\u011fu yap\u0131tlar de\u011fil. E\u011fer onlarla bir sava\u015f\u0131ma girmek istemiyorsan yazmayacaks\u0131n. \u0130\u015fini en iyi bi\u00e7imde yaparsan dikkat \u00e7ekebilirsin. \u0130yi yazmaksa bol bol \u00e7al\u0131\u015fmakla olas\u0131.\u201d (10)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Ba\u015fkahramandan s\u0131radan insana: \u201cYukar\u0131 Mahalle\u201d, \u201cSardalye Soka\u011f\u0131\u201d, \u201cTatl\u0131 Per\u015fembe\u201d\u2026<\/em><\/strong><\/p>\n<p>Bu \u00e7abas\u0131yla Steinbeck bundan b\u00f6yle toplumsal yap\u0131 i\u00e7inde etkile\u015fen insan\u0131 konu almaya giri\u015fti. \u0130lk b\u00fcy\u00fck ba\u015far\u0131s\u0131n\u0131 yakalayaca\u011f\u0131<em> Tortilla Flat<\/em> (<em>Yukar\u0131 Mahalle<\/em>; 1935) \u00e7al\u0131\u015fmas\u0131yla toplumda g\u00fcndelik, i\u00e7inden geldi\u011fi gibi ya\u015fayan, ancak dayan\u0131\u015fan insanlar\u0131 anlat\u0131r. Bu Monterey kentindeki melez k\u00f6kenli, Paisano toplumunun \u00f6yk\u00fcs\u00fcd\u00fcr. Bu roman, ba\u011flant\u0131s\u0131 olmasa da birbirinin devam\u0131 olan iki \u00e7al\u0131\u015fman\u0131n, <em>Cannery Row <\/em>(Sardalye Soka\u011f\u0131, 1945) ve <em>Sweet Thursday<\/em>\u2019in (<em>Tatl\u0131 Per\u015fembe<\/em>; 1954) habercisidir. Birbirinin devam\u0131 olan iki roman da b\u00fcy\u00fck \u00f6l\u00e7\u00fcde ayn\u0131 mizahi dille ve <em>Yukar\u0131 Mahalle<\/em>\u2019yi \u00e7a\u011fr\u0131\u015ft\u0131ran bir tarzda yaz\u0131lm\u0131\u015ft\u0131r. Bu \u00fc\u00e7 roman\u0131n genel \u00f6zelli\u011fi ge\u00e7ici i\u015flerde \u00e7al\u0131\u015fan ve gelecek kayg\u0131s\u0131na bo\u015fvererek ya\u015fayan insanlar\u0131n konu edilmesidir.<\/p>\n<p>Yazar bu yap\u0131tlarda s\u0131radan insanlar\u0131 i\u00e7ten ve mizahi bir havayla okuyucuya aktar\u0131r. John Steinbeck s\u00f6z\u00fc edilen \u00fc\u00e7 \u00e7al\u0131\u015fmas\u0131ndaki insanlarla olan benzerli\u011fini ve mizah\u00e7\u0131 yan\u0131n\u0131 George Albee\u2019ye yazd\u0131\u011f\u0131 mektupta \u015f\u00f6yle duyurur: \u201c\u0130yi yiyecek severim. \u0130yi giysileri de severim. Ama onlar\u0131 elde etmek sorunuyla kar\u015f\u0131la\u015f\u0131nca dikkatimi gerekli olan noktada toplayam\u0131yorum. \u00dcst\u00fcme ge\u00e7irebilece\u011fim herhangi bir i\u015f pantolonuyla, karn\u0131m\u0131 doyurabilece\u011fim bir par\u00e7a havu\u00e7 beni hi\u00e7 de mutsuz k\u0131lmaz. Fakat beni en \u00e7ok ben yapan \u015fey, g\u00fcl\u00fcn\u00e7 olan\u0131 hemen kavrayabilmem. Bu yakalad\u0131\u011f\u0131m \u015fey anlams\u0131zl\u0131k veya aptall\u0131k da olabilir. G\u00fcl\u00fcn\u00e7 olan\u0131n ya da g\u00fcl\u00fcn\u00e7 olma korkusunun bir\u00e7ok insan\u0131n ya\u015fam \u00e7izgisini belirledi\u011fini g\u00f6r\u00fcyorum. Bende ise b\u00f6yle bir itki yok. Ben bedensel olarak \u00f6ylesine yal\u0131n bir insan\u0131m ki uyuyabilece\u011fim kuru ve yumu\u015fak bir yer, karn\u0131m\u0131 doyuracak herhangi bir yiyecek, ara s\u0131ra, -beni \u00e7ok tedirgin etti\u011fi zaman- bir cinsel ili\u015fki ve biraz meni ak\u0131tmak ve bol bol \u00e7al\u0131\u015fmak&#8230; \u0130\u015fte benim i\u00e7in rahat bir ya\u015fam, bunlar\u0131 i\u00e7eren bir ya\u015fam demek. G\u00f6r\u00fcyorsun ya, ancak tembel ve aptal bir hayvan\u0131n ya\u015fam\u0131 gibi bir ya\u015fam bi\u00e7imi bu. Korkuyorum. Ne bir \u015feyim olsun, ne de ben bir \u015fey olay\u0131m istiyorum. \u0130steklerim yok. \u00c7\u00fcnk\u00fc \u00e7ok istekleri olmak yorucu.\u201d (11)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Kahramanlar, \u00e7evrelendikleri toplumsal yap\u0131yla anlat\u0131l\u0131r<\/em><\/strong><\/p>\n<p>Yazar\u0131n bu bak\u0131\u015f a\u00e7\u0131s\u0131yla s\u0131radan insanlar bu \u00fc\u00e7 romanda okuyucuya sunulurken, ilk romanlar\u0131ndaki gibi ba\u015fkahramanlar \u00f6n plana \u00e7\u0131kmaz. \u00d6rne\u011fin <em>Yukar\u0131 Mahalle<\/em>\u2019nin kahraman\u0131 Danny daha silik bir ki\u015filik sergiler. Ancak onun etraf\u0131ndaki serseri arkada\u015flar\u0131, yani Danny\u2019nin \u00e7evresindeki canl\u0131 yap\u0131 ba\u015fta haz\u0131rcevap ve zeki Pilon olmak \u00fczere okuyucunun ilgisini y\u00fcksekte tutar. Bu yap\u0131tlar\u0131nda Steinbeck i\u00e7in k\u0131smen \u00e7evresinden soyutlanm\u0131\u015f bireysel kahramandan \u00e7ok bir kahraman\u0131n etraf\u0131nda bireyi a\u015fan canl\u0131 bir toplumsal yap\u0131 vard\u0131r. Steinbeck <em>Yukar\u0131 Mahalle <\/em>roman\u0131n\u0131n ba\u015f\u0131nda bu kez alayc\u0131l\u0131kla kahramanlar\u0131n\u0131 yere indirir: \u201cBu d\u00f6nemin k\u00e2\u011f\u0131da ge\u00e7irilmesi yararl\u0131d\u0131r. Ge\u00e7irilmelidir ki, gelecekte bu efsaneleri duyan bilginler, Arthur, Roland, Robin Hood i\u00e7in dedikleri gibi, \u2018Ne Danny diye birisi, ne Dany\u2019nin dostlar\u0131 diye bir grup, ne de \u00f6yle bir ev vard\u0131. Danny bir do\u011fa tanr\u0131s\u0131, dostlar\u0131 ise ilkel r\u00fczg\u00e2r, g\u00f6k ve g\u00fcne\u015f simgeleridir\u2019 demesinler. Bu \u00f6yk\u00fc bug\u00fcn ve gelecekte, as\u0131k suratl\u0131 bilginlerimizin dudaklar\u0131ndaki alayc\u0131 g\u00fcl\u00fcmsemeyi silip atmay\u0131 ama\u00e7lamaktad\u0131r.\u201d (12)<\/p>\n<p>Yazar yine ya\u015fad\u0131\u011f\u0131 yer olan Kaliforniya\u2019n\u0131n Monterey kentinde ya\u015fananlar\u0131 konu edinir.<em> Sardalye Soka\u011f\u0131<\/em>\u2019nda ve <em>Tatl\u0131 Per\u015fembe<\/em>\u2019de ise ayn\u0131 kentin ayr\u0131 insanlar\u0131 benzer bir ya\u015fam bi\u00e7imi \u00e7er\u00e7evesinde anlat\u0131l\u0131r. Yine k\u0131y\u0131da k\u00f6\u015fede kalm\u0131\u015f, g\u00fcn\u00fc birlik i\u015flerden buldu\u011funu i\u00e7kiye ve bir par\u00e7a yiyece\u011fe yat\u0131ran insanlar vard\u0131r. <em>Sardalye Soka\u011f\u0131<\/em>\u2019nda da <em>Yukar\u0131 Mahalle<\/em>\u2019de oldu\u011fu gibi ba\u015fki\u015filik \u00e7ok \u00f6ne \u00e7\u0131kmaz. <em>Sardalye Soka\u011f\u0131<\/em>\u2019ndaki ba\u015fkahraman Doc\u2019un ki\u015fili\u011fi <em>Tatl\u0131 Per\u015fembe<\/em>\u2019de daha belirgindir.<\/p>\n<p>Steinbeck 1958\u2019de \u00fcnl\u00fc oyuncu Henry Fonda\u2019ya 20 Kas\u0131m 1958\u2019de New York\u2019dan yazd\u0131\u011f\u0131 mektupta Doc\u2019u yazarken hep roman kahraman\u0131n\u0131n yerine \u00fcnl\u00fc oyuncuyu koydu\u011funu belirtir (13). Ger\u00e7ekten Henry Fonda\u2019da g\u00f6r\u00fclen dingin yap\u0131y\u0131 Doc verir. Doc, Danny\u2019den ayr\u0131, k\u00fclt\u00fcrl\u00fc biridir. Biyoloji okumu\u015ftur ve bu alanda \u00e7al\u0131\u015fmalar\u0131n\u0131 s\u00fcrd\u00fcrmektedir. Steinbeck\u2019in yar\u0131 b\u0131rakt\u0131\u011f\u0131 \u00fcniversite ya\u015fam\u0131nda biyoloji okumas\u0131 romandaki meslek se\u00e7iminde etkili olmu\u015f olmal\u0131d\u0131r. <em>Yukar\u0131 Mahalle<\/em>\u2019de ilk anda yankahraman gibi g\u00f6r\u00fcnse de daha \u00e7ok ba\u015fkahraman olan Pilon ve \u00e7evresindeki arkada\u015flar\u0131 vard\u0131r. \u00d6b\u00fcr iki romanda da Mack serserilerin ba\u015f\u0131d\u0131r ve \u00f6n plana \u00e7\u0131kar. Yazar <em>Yukar\u0131 Mahalle<\/em>\u2019nin giri\u015finde yapt\u0131\u011f\u0131 gibi <em>Sardalye Soka\u011f\u0131<\/em>\u2019nda da ele ald\u0131\u011f\u0131 insanlara \u00f6nyarg\u0131s\u0131z bir bi\u00e7imde yakla\u015ft\u0131\u011f\u0131n\u0131 ve yaln\u0131zca onlar\u0131n de\u011ferini yans\u0131tmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131n\u0131 duyurur: \u201cBurada oturanlar, vaktiyle birinin dedi\u011fi gibi \u2018orospular, pezevenkler, kumarbazlar ve e\u015f\u015folue\u015f\u015fekler\u2019den olu\u015fur ki; bununla b\u00fct\u00fcn mahalle halk\u0131 anlat\u0131lm\u0131\u015f olur. Fakat bunu s\u00f6yleyen adam, bir ba\u015fka delikten bak\u0131verseydi mahalleye, onlar i\u00e7in \u2018evliyalar, melekler, mazlumlar ve m\u00fcbarek insanlar\u2019 diyebilirdi, o zaman da yine herkesi tan\u0131mlam\u0131\u015f olacakt\u0131.\u201d (14)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u0130nsanlar aras\u0131 dayan\u0131\u015fmaya vurgu yap\u0131l\u0131r<\/em><\/strong><\/p>\n<p>Bu \u00fc\u00e7 roman\u0131n ilk ikisinde Steinbeck daha dayan\u0131\u015fmac\u0131 bir yap\u0131ya vurgu yapar. <em>Tatl\u0131 Per\u015fembe<\/em>\u2019de ise ilk romanlar\u0131ndakine benzer bir bi\u00e7imde bireyin kahramanca kendini ortaya koymas\u0131 ve kararl\u0131 bi\u00e7imde ya\u015fam\u0131na y\u00f6n vermesi vard\u0131r. Bunda da bir \u00f6l\u00e7\u00fcde dayan\u0131\u015f\u0131k bir yap\u0131 vard\u0131r. \u00d6rne\u011fin <em>Yukar\u0131 Mahalle<\/em>\u2019de Jesus Maria yolda hasta bebe\u011fiyle buldu\u011fu Onba\u015f\u0131\u2019ya yard\u0131m eder. Arkada\u015flar\u0131 destek olurlar. Bu dayan\u0131\u015fma havas\u0131 \u015f\u00f6yle yans\u0131t\u0131l\u0131r: \u201cPilon hemen i\u015fe el koydu. Jesus Maria\u2019y\u0131 ke\u00e7i s\u00fct\u00fc almak \u00fczere Bayan Palochico\u2019nun evine g\u00f6nderdi. Koca Joe ve Pablo\u2019yu bir elma kutusu bulup i\u00e7ine ot doldurmak, \u00fcst\u00fcne de kuzu postundan bir palto \u00f6rtmekle g\u00f6revlendirdi. Danny kendi yata\u011f\u0131n\u0131 \u00f6nerdi, ama reddedildi. Onba\u015f\u0131 oturma odas\u0131nda durup bu iyi insanlara g\u00fcl\u00fcmsedi.\u201d (15) Benzer olumlu bir davran\u0131\u015f\u0131 eve ald\u0131klar\u0131 Korsan\u2019\u0131n kilise i\u00e7in adak paras\u0131na canlar\u0131 \u00e7ekse bile dokunmayarak g\u00f6sterirler. Al\u0131k bir ki\u015filik olan Koca Joe b\u00f6yle bir i\u015fe kalk\u0131\u015f\u0131nca onu benzetip cayd\u0131r\u0131rlar. Sonunda Korsan\u2019a bu ada\u011f\u0131 adamak \u00fczere kiliseye gidebilece\u011fi d\u00fczg\u00fcn bir k\u0131l\u0131k yaratmak i\u00e7in y\u00f6ntem bulunur: \u201c\u2018Ona bir \u015feyler \u00f6d\u00fcn\u00e7 veririz,\u2019 dedi Jesus Maria. \u2018Benim ceketimle yele\u011fim var. Pilon\u2019un babas\u0131ndan kalma \u015fapkas\u0131. Danny senin g\u00f6mle\u011fin, Koca Joe\u2019nun da o g\u00fczel mavi pantolonu.\u2019\u201d (16)<\/p>\n<p>Benzer bir dayan\u0131\u015fma havas\u0131 <em>Sardalye Soka\u011f\u0131<\/em>\u2019nda da vard\u0131r. Hatta k\u0131smen <em>Tatl\u0131 Per\u015fembe<\/em>\u2019de bile bu hava duyulur. Bu birbirini izleyen iki yap\u0131tta, bu serseri tak\u0131m\u0131 ufak tefek kurnazl\u0131klar\u0131 olsa da hep Doc\u2019un \u00fczerine d\u00fc\u015ferler, onun i\u00e7in partiler haz\u0131rlarlar. Doc\u2019un dilinden bu insanlar <em>Sardalye Soka\u011f\u0131<\/em>\u2019nda \u015f\u00f6yle dile getirilir: \u201cSorun kar\u0131n doyurmakta de\u011fil. Bu bamba\u015fka bir \u015fey. D\u00fcnyay\u0131 elde etmek i\u00e7in benli\u011fimizi satmak tamamen i\u00e7imizden gelen, hemen hemen istisnas\u0131 olmayan bir durumdur ama bunun da istisnalar\u0131 yok de\u011fil. D\u00fcnyan\u0131n her yan\u0131nda bir Mack ve avanesi toplulu\u011fu vard\u0131r. Onun gibilerini Meksiko\u2019da dondurmac\u0131 k\u0131l\u0131\u011f\u0131nda, Alaska\u2019da bir Aleut\u2019ta g\u00f6rd\u00fcm. Benim \u015ferefime nas\u0131l bir e\u011flence d\u00fczenlemeye \u00e7al\u0131\u015ft\u0131klar\u0131n\u0131 ve i\u015flerin nas\u0131l ters gitti\u011fini bilirsin. Ama ger\u00e7ekten b\u00f6yle bir e\u011flence istiyorlard\u0131. As\u0131l ama\u00e7lar\u0131 buydu.\u201d (17)<\/p>\n<p>Steinbeck\u2019in \u00f6zellikle son romanlar\u0131nda daha da belirgin olarak vurgu yapt\u0131\u011f\u0131 \u015fey insan\u0131n bencilli\u011fi ve ya\u015fam\u0131 k\u00f6t\u00fcye kullan\u0131\u015f\u0131d\u0131r. Yazar genelde yap\u0131tlar\u0131n\u0131 umut dolu bitirmeye \u00e7al\u0131\u015fsa da, okuyucuyu karamsar bir hava i\u00e7inde b\u0131rak\u0131r. Bu \u00fc\u00e7 romandaki insanlar kendine yeter bir d\u00fczen kurma \u00e7abas\u0131 i\u00e7inde, k\u00fc\u00e7\u00fck kurnazl\u0131klar\u0131yla i\u00e7tenlikli bir ya\u015fam s\u00fcrd\u00fcr\u00fcrler. Bu \u00fc\u00e7 roman olumlu bitsin olumsuz bitsin, genelde umutlu bir hava ta\u015f\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Yazar da topluluk ruhundan ka\u00e7amaz<\/em><\/strong><\/p>\n<p>Steinbeck bireyden ayr\u0131 olarak toplumun ruhu \u00fczerine d\u00fc\u015f\u00fcnmeye <em>Yukar\u0131 Mahalle<\/em>\u2019yi yazmadan \u00f6nce ba\u015flam\u0131\u015ft\u0131. Bu ba\u011flamda apayr\u0131 ki\u015filiklerin hep birlikte ortaya koydu\u011fu yakla\u015f\u0131m, bireylerin \u00fcst\u00fcne \u00e7\u0131kan toplumsal yakla\u015f\u0131m <em>Yukar\u0131 Mahalle<\/em>\u2019de vard\u0131r. Bu konuyla ilgili olarak Steinbeck 21 Haziran 1933\u2019de Pacific Grove\u2019dan arkada\u015f\u0131 Carlton Sheffield\u2019e yazd\u0131\u011f\u0131 mektupta \u015f\u00f6yle der: \u201cBir insan toplulu\u011fu k\u00f6t\u00fcl\u00fck g\u00fcd\u00fcs\u00fcyle yumu\u015fakl\u0131\u011f\u0131 yok eder. Bir topluluk i\u00e7indeyken insan kendi yap\u0131s\u0131na uygun olan\u0131 yapmaz. Topluluk onun do\u011fas\u0131n\u0131 de\u011fi\u015ftirebilir. Topluluk onun do\u011fu\u015ftan gelen \u00f6zelliklerini, kendini denetleme yetisini, g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc, ruhsal yap\u0131s\u0131n\u0131 de\u011fi\u015ftirebilir. B\u00fct\u00fcn bu yazd\u0131klar\u0131m bizi bir sonuca g\u00f6t\u00fcr\u00fcyor: Topluluk, olu\u015fmak i\u00e7in bireylerine ba\u011f\u0131ml\u0131. S\u0131n\u0131rlar\u0131 ve \u00f6zellikleri bak\u0131m\u0131ndansa bireylerinden ba\u011f\u0131ms\u0131z. \u00d6zyap\u0131s\u0131 da bireylerinin \u00f6zyap\u0131s\u0131ndan ayr\u0131. T\u0131pk\u0131 insan\u0131n bedenini olu\u015fturan h\u00fccrelerine ba\u011f\u0131ml\u0131l\u0131k ve yine de onlardan apayr\u0131 \u00f6zellikler ta\u015f\u0131mas\u0131 gibi.\u201d (18)<\/p>\n<p>Elbette topluluk <em>Yukar\u0131 Mahalle<\/em>\u2019de g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi her zaman olumsuzluklar getirmeyecektir. Ancak Steinbeck\u2019in d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc, belli bir toplulu\u011fun bireyin bilincini a\u015facak bi\u00e7imde \u00e7ok da bilin\u00e7li bir y\u00f6nde gitmeden s\u00fcr\u00fcklenmesidir. Yazar 1934\u2019de \u00f6len annesinin hastal\u0131\u011f\u0131n\u0131 izlerken canlanan bu fikirleri o zaman not etmeye ba\u015flam\u0131\u015ft\u0131. (19) Ancak Steinbeck 1933\u2019de George Albe\u2019ye Salinas\u2019dan yazd\u0131\u011f\u0131 mektubunda yazar\u0131n ya da sanat\u00e7\u0131n\u0131n da bu topluluk ruhundan ka\u00e7amayaca\u011f\u0131n\u0131, insan\u0131n kendi ki\u015fili\u011fini yans\u0131t\u0131rken toplumla etkile\u015fmeyi b\u0131rakt\u0131\u011f\u0131nda kendini yok edece\u011fini, \u00e7\u00fcnk\u00fc ya\u015fam kayna\u011f\u0131n\u0131 kesmi\u015f olaca\u011f\u0131n\u0131 belirtir. (20) Steinbeck zaman zaman bu d\u00f6nemdeki mektuplar\u0131nda topluluk yerine <strong>phalanx<\/strong> s\u00f6zc\u00fc\u011f\u00fcn\u00fc kullan\u0131r. Frans\u0131z d\u00fc\u015f\u00fcn\u00fcr Marie Charles Fourier (1772-1837) Falanj (fr. Phlange, ing. Phalanx) ad\u0131 verilen \u00fcretici birimler tasarlam\u0131\u015ft\u0131r. E\u015fit say\u0131da kad\u0131n ve erkekten olu\u015fan 1620 ki\u015filik Falanj, insan\u0131 mutsuz k\u0131lan \u00e7a\u011fda\u015f iktisadi ya\u015fam d\u00fczeninin sak\u0131ncalar\u0131n\u0131 giderecek bir yap\u0131 olarak d\u00fc\u015f\u00fcn\u00fclm\u00fc\u015ft\u00fcr. Bkz. Af\u015far Timu\u00e7in\u2019in <em>D\u00fc\u015f\u00fcnce Tarihi<\/em>.)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u0130\u015f\u00e7iler ve sorunlar\u0131, Steinbeck romanlar\u0131na konu olmaya ba\u015flar<\/em><\/strong><\/p>\n<p><em>In Dubious Battle<\/em> (<em>Bitmeyen Kavga<\/em>; 1936) ve<em> Grapes Wrath<\/em>\u2019de (<em>Gazap \u00dcz\u00fcmleri<\/em>; 1939) yukar\u0131daki d\u00fc\u015f\u00fcncelerin a\u00e7\u0131k yans\u0131malar\u0131n\u0131 g\u00f6rmek olas\u0131d\u0131r. \u0130ki \u00e7al\u0131\u015fman\u0131n ana temas\u0131 ve anlat\u0131m tarz\u0131 birbirinden ayr\u0131 olmakla birlikte, her iki \u00e7al\u0131\u015fmada yoksul i\u015f\u00e7i kesiminin s\u0131k\u0131nt\u0131lar\u0131 ve i\u015fveren kar\u015f\u0131s\u0131ndaki duru\u015flar\u0131 verilir. Steinbeck\u2019in her iki \u00e7al\u0131\u015fmadaki yakla\u015f\u0131m\u0131 yaln\u0131zca bir edebiyat\u00e7\u0131n\u0131n bak\u0131\u015f\u0131n\u0131 de\u011fil, daha \u00e7ok bir gazetecinin bak\u0131\u015f\u0131n\u0131 duyurur. Ancak bu durum yazar\u0131n yine de kaba ger\u00e7ek\u00e7i bir tutum i\u00e7inde oldu\u011fu bi\u00e7iminde anla\u015f\u0131lmamal\u0131d\u0131r. Bu konu daha \u00e7ok yazar\u0131n yans\u0131zl\u0131\u011f\u0131yla ilgilidir. O \u00f6zellikle <em>Bitmeyen Kavga<\/em>\u2019da iki kesime, i\u015f\u00e7i ve i\u015fveren kesimine kar\u015f\u0131 yans\u0131z bir yakla\u015f\u0131m sergiler.<\/p>\n<p><em>Gazap \u00dcz\u00fcmlerini<\/em>\u2019ni kaleme ald\u0131\u011f\u0131 s\u0131ralarda incelemeler yapmak i\u00e7in y\u00f6neldi\u011fi topluluk bat\u0131ya gelen g\u00f6\u00e7men i\u015f\u00e7ilerdi ve bu insanlar\u0131n sorunlar\u0131n\u0131 ele almak i\u00e7in g\u00fcvendi\u011fi bir dergiyle kazanc\u0131 bu g\u00f6\u00e7men i\u015f\u00e7ilere kalmak \u00fczere anla\u015ft\u0131. Steinbeck yay\u0131nc\u0131 ajan\u0131 Elizabeth Otis\u2019e 7 Mart 1938\u2019de Los Gatos\u2019dan yazd\u0131\u011f\u0131 mektubunda bu ki\u015filerin durumuyla ilgili g\u00f6zlemlerini \u015f\u00f6yle aktar\u0131r: \u201cOraya gidip, derinli\u011fi bir aya\u011fa varan suyu, yataklara t\u0131rmanm\u0131\u015f, \u0131s\u0131nmak i\u00e7in ate\u015fi ve bir lokma yiyece\u011fi olmayan \u00e7ocuklar\u0131 g\u00f6rsen beni anlars\u0131n. \u0130l\u00e7e y\u00f6netimi, \u2018Sorun bizim ba\u015fa \u00e7\u0131kamayaca\u011f\u0131m\u0131z boyutlarda\u2019 diyerek b\u00fct\u00fcn hasta bak\u0131c\u0131lar\u0131 geri \u00e7ekti. B\u00f6ylece bu insanlar i\u00e7in hi\u00e7 ama hi\u00e7bir \u015fey yap\u0131lm\u0131yor bug\u00fcn. Hapishanede bir delikanl\u0131 g\u00f6rd\u00fck. Annesi a\u00e7l\u0131ktan \u00f6lmek \u00fczere oldu\u011fu i\u00e7in bir ambar\u0131n asma kilidini k\u0131rarak iki eski radyat\u00f6r \u00e7alm\u0131\u015f. Ya kefaletle b\u0131rakt\u0131raca\u011f\u0131z ya da b\u00f6lge avukat\u0131 onu kurtarmaya \u00e7al\u0131\u015facak.\u201d (21)<\/p>\n<p>Steinbeck <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde de olan\u0131 ger\u00e7ek bir edebiyat\u00e7\u0131 ustal\u0131\u011f\u0131yla anlat\u0131r. Ancak sorunlar\u0131n i\u00e7ine girdik\u00e7e ne kadar yans\u0131z da olmaya \u00e7al\u0131\u015fsa, insandan yana olan bak\u0131\u015f\u0131 daha da \u00f6ne \u00e7\u0131kar. <em>Bitmeyen Kavga<\/em>\u2019y\u0131 yazd\u0131\u011f\u0131 d\u00f6nemlerde g\u00f6\u00e7menlerin kamp\u0131na gitmeye ba\u015flam\u0131\u015ft\u0131r, ancak 1936\u2019da Los Gotos\u2019dan George Albe\u2019ye yazd\u0131\u011f\u0131 mektupta, haz\u0131rlad\u0131\u011f\u0131 yaz\u0131 dizisini bir dergiye kabul ettiremedi\u011fini yazar. \u00c7\u00fcnk\u00fc yazar\u0131n anlat\u0131m\u0131yla Salinas sokaklar\u0131nda insanlar\u0131n \u00f6ld\u00fcr\u00fcld\u00fc\u011f\u00fc bu d\u00f6nemlerde i\u015f\u00e7ileri a\u015fa\u011f\u0131lamayan bir yaz\u0131y\u0131 yay\u0131nlatmak olas\u0131 de\u011fildir. (22)<\/p>\n<p>Asl\u0131nda Steinbeck <em>Bitmeyen Kavga<\/em>\u2019da da g\u00f6r\u00fclece\u011fi gibi olabildi\u011fince nesnel kalmak istedi\u011fini George Albe\u2019ye 15 Haziran 1935 tarihli Pacific Grove\u2019dan yazd\u0131\u011f\u0131 mektubunda \u015f\u00f6yle belirtir: \u201cHem i\u015f\u00e7i hem de i\u015fverenin kendilerine g\u00f6re sonu\u00e7lar \u00e7\u0131karaca\u011f\u0131 b\u00f6l\u00fcmler olmakla birlikte, ne bir yan\u0131n ne de \u00f6tekinin deste\u011fini sa\u011flayacak nitelikte de\u011fil.\u201d (23)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u201cBitmeyen Kavga\u201dn\u0131n roman ki\u015filikleri derinlikli de\u011fildir<\/em><\/strong><\/p>\n<p>Steinbeck\u2019in <em>Bitmeyen Kavga<\/em>\u2019da do\u011frudan toplumsal sorunlar\u0131n derinine inme \u00e7abas\u0131nda olmad\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. Bunu yazar bu al\u0131nt\u0131lanan mektubunda kabul eder. Ancak sorunlar\u0131n \u00e7ok\u00e7a derinine inmeyince yazar\u0131n roman ki\u015filiklerinin de pek derinlikli bir bi\u00e7imde verdi\u011fini s\u00f6ylemek zordur.<\/p>\n<p><em>Bitmeyen Kavga<\/em>\u2019n\u0131n ba\u015fl\u0131ca iki ki\u015fili\u011fi i\u015f\u00e7ileri belli ama\u00e7lar ve daha \u00e7ok partiye adam kazand\u0131rmak do\u011frultusunda y\u00f6nlendirmeye \u00e7al\u0131\u015fan kom\u00fcnist partili Mac ve ya\u015fam\u0131n getirdiklerinden umutsuzlu\u011fa d\u00fc\u015ferek partiye kat\u0131lan Jim\u2019dir. Jim \u00e7al\u0131\u015fman\u0131n ba\u015f\u0131nda partiye kat\u0131lmas\u0131n\u0131n pek \u00e7ok nedeninden birini \u015f\u00f6yle verir: \u201cBunun i\u00e7in bir s\u00fcr\u00fc ufak tefek nedenler g\u00f6sterebilirim. Fakat asl\u0131 \u015fudur: B\u00fct\u00fcn ailem bu d\u00fczen y\u00fcz\u00fcnden mahvoldu. Babam i\u015f\u00e7i kavgalar\u0131nda b\u00fcy\u00fck darbelere u\u011frad\u0131. Sonunda ayya\u015f bir adam olup \u00e7\u0131kt\u0131. \u00c7al\u0131\u015ft\u0131\u011f\u0131 mezbahay\u0131 dinamitlemek fikrine kap\u0131lm\u0131\u015ft\u0131. Sonunda g\u00f6\u011fs\u00fcne bir kur\u015fun yiyip \u00f6ld\u00fc.\u201d (24)<\/p>\n<p>Jim babas\u0131n\u0131n \u00e7ekti\u011fi ac\u0131lar\u0131 anlat\u0131rken partiye giri\u015f nedenlerini de anlat\u0131r: Bu nedenler aras\u0131nda u\u011frad\u0131\u011f\u0131 haks\u0131zl\u0131klar ve bir mitingde yanl\u0131\u015fl\u0131kla serserilikten i\u00e7eri giri\u015fi ve b\u00f6ylece bir ama\u00e7 u\u011fruna bir araya gelen insanlardan etkileni\u015fi de vard\u0131r. Bu s\u0131rada Jim\u2019le onun partiye kayd\u0131n\u0131 yapan Harry Nilson aras\u0131nda ge\u00e7en konu\u015fma Steinbeck\u2019in \u00f6zellikle Mac ki\u015fili\u011fini neden derinlikli bir bi\u00e7imde yans\u0131tmad\u0131\u011f\u0131n\u0131 da sezdirir: \u201cJim hi\u00e7bir \u015fey anlamad\u0131\u011f\u0131n\u0131 g\u00f6sterircesine Harry Nilson\u2019un y\u00fcz\u00fcne bakt\u0131. \u2018Sen,\u2019 dedi. \u2018Y\u00fckselmek i\u00e7in yeteri kadar yetenekli oldu\u011fu halde adam\u0131 bir anda i\u015finden atan, yerine bir ba\u015fkas\u0131n\u0131 yerle\u015ftiren bir i\u015fte \u00e7al\u0131\u015ft\u0131n m\u0131? Herkesin firmaya sadakatten s\u00f6z etti\u011fi, sadakatinse milletin birbirini gammazlamas\u0131 demek oldu\u011fu bir yerde bulundun mu? Her neyse, benim kaybedecek bir \u015feyim yok.\u2019 Harry durgunlukla, \u2018Nefretinden ba\u015fka,\u2019 diye kar\u015f\u0131l\u0131k verdi. \u2018Bir g\u00fcn insanlardan nefret etmedi\u011fini g\u00f6r\u00fcnce \u00e7ok \u015fa\u015f\u0131racaks\u0131n. Bilmem neden, fakat sonunda hep b\u00f6yle olur.\u2019\u201d (25)<\/p>\n<p>Mac\u2019in ki\u015fili\u011fi sanki bu nefreti yitirmesi y\u00fcz\u00fcnden belirsizdir. \u00d6nceleri belli bir toplulu\u011fun \u00f6nder ki\u015fisi olarak Mac Jim\u2019i y\u00f6nlendirir. Ancak zamanla Jim toplulu\u011fun i\u00e7inde dizginlenemez duruma gelir. Steinbeck\u2019in sorunu, daha \u00f6nce de belirtti\u011fimiz gibi, toplulu\u011fun ruhu i\u00e7inde bireyin ba\u015fkala\u015fmas\u0131d\u0131r. \u00d6rne\u011fin Mac siyasetin i\u00e7inde tamamen duygular\u0131ndan ar\u0131nm\u0131\u015f, \u2018nefret\u2019ten yoksun bir adam gibi \u00e7izilir. Ancak yukar\u0131daki al\u0131nt\u0131da g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, bu durum art\u0131k insan\u0131n siyasetin i\u00e7inde duygusunu ya da Harry\u2019nin deyi\u015fiyle \u2018nefret\u2019ini yitirmesi sonucu olabilir. Kaptan Morgan gibi Mac da hedefinin pe\u015findeyken insani duygular\u0131n uza\u011f\u0131ndad\u0131r. Ancak o da hedefine yaln\u0131z y\u00fcr\u00fcyebilecek gibi de\u011fildir, g\u00fcvende de\u011fildir. O g\u00fcvenceyi Jim\u2019de arar. Belki onu olaylar\u0131n i\u00e7ine uzun s\u00fcre sokmak istememesi bununla ilgilidir. Ancak Jim Mac\u2019den ayr\u0131 olarak nefretini hi\u00e7 yitirmez.<\/p>\n<p>Ancak bu nefreti kendinde a\u00e7\u0131k bir bi\u00e7imde bar\u0131nd\u0131rmayan Mac\u2019in g\u00f6z\u00fcn\u00fc karart\u0131p izledi\u011fi ama\u00e7 nedir? Bir noktada Mac\u2019in siyasi bak\u0131\u015f\u0131 i\u00e7indeki duygusuzlu\u011fu ger\u00e7ek\u00e7i olabilir. Ancak Mac\u2019in insani bir amac\u0131 m\u0131 vard\u0131r? Siyasetin i\u00e7inde kendine egemenlik alan\u0131 m\u0131 aramaktad\u0131r? Yoksa onu y\u00f6nlendirenlerin etkisi alt\u0131nda m\u0131d\u0131r?<\/p>\n<p><em>Bitmeyen Kavga <\/em>okundu\u011funda Steinbeck\u2019in bu konular\u0131 ya dikkate almad\u0131\u011f\u0131 ya da daha \u00e7ok okuyana b\u0131rakt\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr. Bir yanda i\u015f\u00e7iyi inan\u00e7lar\u0131 u\u011fruna y\u00f6nlendiren ya duygusuz ya da ger\u00e7ekten bir \u015feyleri de\u011fi\u015ftirece\u011fine inan\u0131p arada yitip giden insanlar vard\u0131r, \u00f6te yanda i\u015f\u00e7inin \u00fccretini bin bir kurnazl\u0131kla en d\u00fc\u015f\u00fck d\u00fczeyde tutmaya \u00e7al\u0131\u015fan i\u015fveren kesimi vard\u0131r. <em>Bitmeyen Kavga<\/em>\u2019daki sorunlar aras\u0131nda <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde de i\u015flenen sorunlar vard\u0131r: \u0130\u015f\u00e7ilerin belli \u00fccretle \u00e7a\u011fr\u0131l\u0131p toplanmas\u0131 ve d\u0131\u015far\u0131dan fazladan i\u015f\u00e7i getirilerek \u00fccretlerin d\u00fc\u015f\u00fcr\u00fclmesi, i\u015f\u00e7i grevleri, i\u015fverenlerin grevi k\u0131rmak i\u00e7in d\u0131\u015far\u0131dan sendikas\u0131z i\u015f\u00e7i getirmeleri, grevin \u00f6nderlerini r\u00fc\u015fvetle sat\u0131n alma \u00e7abalar\u0131 ve iki kesim aras\u0131nda bitmeyen bir \u00e7eki\u015fme\u2026<\/p>\n<p>Yine de yazar <em>Bitmeyen Kavga<\/em>\u2019yla ilgili olarak George Albee\u2019ye 15 Haziran 1935\u2019de tarihinde Pacific Grove\u2019dan yazd\u0131\u011f\u0131 mektubunda temel amac\u0131n\u0131n bu toplumsal olaylar\u0131 yans\u0131tmak olmad\u0131\u011f\u0131n\u0131 yazar: \u201cBen grevle, insanlar\u0131n g\u00fcndeliklerinin artmas\u0131n\u0131 ama\u00e7lad\u0131\u011f\u0131 i\u00e7in ilgileniyor de\u011filim. Halkla ya da bask\u0131yla da ilgilenmiyorum. Burada benim i\u00e7in grev yaln\u0131zca, ko\u015fullara \u0131\u015f\u0131k tuttu\u011fu i\u00e7in \u00f6nemlidir. Ne var ki insan kendi i\u00e7indeki kimi \u015feylere h\u0131n\u00e7 duyar. Do\u011fada kar\u015f\u0131s\u0131na \u00e7\u0131kan her engeli yenmeyi ba\u015farm\u0131\u015ft\u0131r. Oysa b\u00fct\u00fcn bireyleri teker teker \u00f6ld\u00fcrmedik\u00e7e kendi kendisini yenemez. Benim yazd\u0131\u011f\u0131m, hep birlikte olan iki \u015fey, kendine olan h\u0131nc\u0131yla, kendine olan sevgisidir. Kitap yaban\u0131l ve ac\u0131mas\u0131z. Yarg\u0131lamadan, bir bilinci yans\u0131tmak istedi. Bu bilincin kalabal\u0131\u011f\u0131ndaki gibi \u00e7\u0131lg\u0131nca diyebilece\u011fimiz bir s\u00fcr\u00fckleme g\u00fcc\u00fc oldu\u011funu san\u0131yorum. Geli\u015fig\u00fczel yaz\u0131lm\u0131\u015f bir kitap.\u201d (26)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Steinbeck kendi bak\u0131\u015f\u0131n\u0131 yan-ki\u015filiklerle verir<\/em><\/strong><\/p>\n<p>Steinbeck\u2019in mektubunda a\u00e7\u0131klad\u0131\u011f\u0131 bi\u00e7imde estetik a\u00e7\u0131dan yazar\u0131n kendi bak\u0131\u015f\u0131n\u0131 do\u011frudan yans\u0131tmas\u0131 yap\u0131t\u0131 s\u0131k\u0131c\u0131 bir duruma sokabilir. Steinbeck bu yap\u0131t\u0131yla birlikte <em>Gazap \u00dcz\u00fcmleri <\/em>ve<em> Cennet Yolu <\/em>gibi birka\u00e7 yap\u0131t\u0131nda kendi bak\u0131\u015f\u0131n\u0131 yan-ki\u015filiklerle verir. <em>Bitmeyen Kavga<\/em>\u2019da doktor Burton, <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde eski peder Cassy ve <em>Cennet Yolu<\/em>\u2019nda \u00c7inli u\u015fak Lee bu ba\u011flamda d\u00fc\u015f\u00fcn\u00fclebilir. Bu ki\u015filer hep bilge insan \u00f6zelli\u011fi g\u00f6steren sa\u011fduyulu kimselerdir. Bu konuya yazar Elizabeth Otis ve Chase Harton\u2019a Roma\u2019dan yazd\u0131\u011f\u0131 28 Nisan 1957 y\u0131l\u0131 tarihli mektubunda \u015f\u00f6yle a\u00e7\u0131kl\u0131k getirir: \u201cYazar\u0131n, roman\u0131n ba\u015fki\u015filerinden biriyle kendini \u00f6zde\u015fle\u015ftirdi\u011fi bir ger\u00e7ek. Bu karaktere yaln\u0131z kendi ki\u015fili\u011fini de\u011fil, umutlar\u0131n\u0131 da katar. Bu ki\u015fiye yazar\u0131n s\u00f6zc\u00fcs\u00fc diyebiliriz. Benim b\u00fct\u00fcn kitaplar\u0131mda b\u00f6yle bir ki\u015fi bulabilece\u011finiz gibi, tan\u0131d\u0131\u011f\u0131m b\u00fct\u00fcn yazarlar\u0131n kitaplar\u0131nda da yazar\u0131 yans\u0131tan ki\u015filer var. Hemingway\u2019in yap\u0131tlar\u0131nda bu ger\u00e7ek \u00f6ylesine apa\u00e7\u0131k ki! Asker, romantik, kimi y\u00f6nlerden sakat&#8230; Bunlar onun s\u0131n\u0131rland\u0131rmalar\u0131n\u0131n imgeleri. Beni simgeleyen karakterse san\u0131r\u0131m benim ak\u0131ll\u0131 ve sayg\u0131n bir ki\u015fi olmak d\u00fc\u015flerimi yans\u0131t\u0131yor.\u201d (27)<\/p>\n<p>Steinbeck <em>Bitmeyen Kavga<\/em>\u2019da bir yandan bireyin bilincini a\u015fan toplumsal devinimleri ele al\u0131yordu, \u00f6te yandan bu toplumsal devinimlerden rahats\u0131zl\u0131k duyuyordu. Bu ba\u011flamda onda kom\u00fcnizmle ilgili kayg\u0131lar\u0131n yans\u0131malar\u0131n\u0131 bulmak olas\u0131d\u0131r. Yazar\u0131n bu konudaki g\u00f6r\u00fc\u015f\u00fc <em>Bitmeyen Kavga<\/em>\u2019da doktor Burton\u2019un a\u011fz\u0131ndan \u015f\u00f6yle yans\u0131t\u0131l\u0131r: \u201cEvet. Toplanan, bir araya gelen insanlar daima bir \u00e7e\u015fit mikroplanman\u0131n etkisi alt\u0131ndad\u0131rlar. Bu belki de iyi bir \u015fey de\u011fil. Ben g\u00f6rmek istiyorum, Mac. Bu toplanan, grupla\u015fan insanlar\u0131n davran\u0131\u015flar\u0131n\u0131 yak\u0131ndan izlemek istiyorum. \u00c7\u00fcnk\u00fc art\u0131k onlar tek ba\u015flar\u0131na olduklar\u0131 zamandan farkl\u0131d\u0131rlar. Bir toplulu\u011fun i\u00e7inde bulunan bir insan bamba\u015fka bir insand\u0131r. Art\u0131k kendisi olmaktan \u00e7\u0131km\u0131\u015ft\u0131r. Nas\u0131l v\u00fccuttaki h\u00fccreler insana benzemezse, o da kendisine hi\u00e7 benzemeyen bir toplulu\u011fun i\u00e7inde bir h\u00fccre gibidir. \u0130\u015fte ben bu gruplar\u0131n davran\u0131\u015flar\u0131n\u0131 incelemek, neye benzediklerini anlamak istiyorum. \u0130nsanlar, \u2018Halk y\u0131\u011f\u0131nlar\u0131 \u00e7\u0131lg\u0131n gibidir. Ne zaman, ne yapacaklar\u0131 belli olmaz\u2019 derler. Acaba insanlar ni\u00e7in bir kalabal\u0131\u011f\u0131 ayr\u0131 ayr\u0131 insanlar olarak de\u011fil de bir b\u00fct\u00fcn olarak g\u00f6r\u00fcr?\u201d(&#8230;) \u2018\u0130nsan toplu halde harekete ge\u00e7ti\u011fi anda kendisine bir bayrak yarat\u0131r. \u2018Tanr\u0131 kutsal topra\u011f\u0131 geri almam\u0131z\u0131 istiyor\u2019 der. Ya da, \u2018D\u00fcnyada demokrasiyi kurmak i\u00e7in sava\u015ft\u0131k\u2019 der. Ya da \u2018D\u00fcnyadaki adaletsizli\u011fi kom\u00fcnizm ile yok edece\u011fiz.\u2019 der. Fakat \u015fu var ki, toplanan, bir araya gelen insanlar\u0131n Kutsal Toprak, Demokrasi ya da Kom\u00fcnizm ile ilgisi yoktur. Belki de topluluk sadece harekete gelmek, d\u00f6v\u00fc\u015fmek istemekte, bu kelimeleri insanlar\u0131 gayelerinin do\u011frulu\u011funa inand\u0131rmak i\u00e7in ileri s\u00fcrmektedir. Belki de dava sadece budur, Mac.\u201d (28)<\/p>\n<p><em>\u00a0<\/em><\/p>\n<p><strong><em>Yazar i\u015f\u00e7iler ve i\u015fveren aras\u0131nda yans\u0131z kalmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r, ama\u2026<\/em><\/strong><\/p>\n<p>Steinbeck bu bak\u0131\u015f a\u00e7\u0131s\u0131yla toplumsal ve iktisadi geli\u015fmelerin insanlar\u0131n \u00fczerindeki ya da toplumdaki etkilerini g\u00f6sterecek bi\u00e7imde \u00e7ok derinlikli bir a\u00e7\u0131klama ortaya koymaz. Yazar\u0131n g\u00f6revi elbette bilim insan\u0131n\u0131n g\u00f6reviyle ayn\u0131 de\u011fildir. Ancak yine de sorun biraz y\u00fczeysel ve soyutlay\u0131c\u0131 bir bak\u0131\u015f a\u00e7\u0131s\u0131yla i\u015flenmi\u015f g\u00f6r\u00fcnmektedir. Ona bu y\u00f6nde ele\u015ftiriler getirirken \u015funu g\u00f6z ard\u0131 edemeyiz: Yap\u0131t\u0131nda i\u015f\u00e7ileri ger\u00e7ekten yans\u0131z bir g\u00f6zle ele ald\u0131\u011f\u0131 a\u00e7\u0131kt\u0131r. Steinbeck say\u0131s\u0131z haks\u0131zl\u0131klar\u0131 yans\u0131t\u0131rken i\u015f\u00e7ilerin \u00fczerine ate\u015f a\u00e7mak gibi a\u015f\u0131r\u0131 uygulamalar\u0131 da yans\u0131tm\u0131\u015ft\u0131r. \u00d6rne\u011fin <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde g\u00f6r\u00fclen b\u00f6lge halk\u0131n\u0131n bat\u0131dan gelen g\u00f6\u00e7men i\u015f\u00e7ilere kar\u015f\u0131 ald\u0131\u011f\u0131 tutumun benzeri bir tutum <em>Bitmeyen Kavga<\/em>\u2019da da kar\u015f\u0131m\u0131za \u00e7\u0131kar: Vigilant\u2019lar\u0131n yaratt\u0131\u011f\u0131 insanl\u0131k d\u0131\u015f\u0131 durumlar Mac\u2019in a\u011fz\u0131ndan \u015f\u00f6yle dile getirilir: \u201cKasaban\u0131n en az\u0131l\u0131 serserileridir. Sava\u015f s\u0131ras\u0131nda as\u0131llar\u0131 Alman olan Amerikal\u0131lar\u0131n evlerini yakanlar da bunlar. Sava\u015f s\u0131ras\u0131nda zencileri lin\u00e7 edenler de bunlar. \u0130\u015fkence etmekten ho\u015flan\u0131rlar. Yapt\u0131klar\u0131na daima g\u00fczel bir ad takmas\u0131n\u0131 da bilirler. B\u00fct\u00fcn k\u00f6t\u00fcl\u00fckleri vatanseverlik ya da Anayasa\u2019n\u0131n korunmas\u0131 i\u00e7in yapt\u0131klar\u0131n\u0131 ileri s\u00fcrerler. Fakat asl\u0131nda eskiden zencilere i\u015fkence eden insanlardan farklar\u0131 yoktur. Mal sahipleri de onlardan faydalan\u0131rlar. Toplumu k\u0131z\u0131llardan korumal\u0131y\u0131z derler. Onlar\u0131 te\u015fvik ederler. Evleri yakt\u0131r\u0131rlar, insanlara eziyet ettirirler, dayak att\u0131r\u0131rlar. Vigilant\u2019lar b\u00fct\u00fcn bu k\u00f6t\u00fcl\u00fckleri rahatl\u0131kla yaparlar. Hi\u00e7bir cezaya \u00e7arpt\u0131r\u0131lmayacaklar\u0131ndan emindirler. \u00c7\u00fcnk\u00fc arkalar\u0131 kuvvetlidir. Zaten onlar da b\u00fct\u00fcn bunlar\u0131 isteyerek, seve seve yaparlar. Aray\u0131p da bulamad\u0131klar\u0131 \u015feydir. Vicdan diye bir \u015fey yoktur onlarda. Gizlice adam \u00f6ld\u00fcr\u00fcrler. Yaln\u0131z bire kar\u015f\u0131 on ki\u015fi olduklar\u0131 zaman d\u00fc\u015fmanlar\u0131n \u00fczerine sald\u0131r\u0131rlar. Bence d\u00fcnyan\u0131n en k\u00f6t\u00fc insanlar\u0131d\u0131r.\u201d (29)<\/p>\n<p>Steinbeck sonu\u00e7ta ya\u015fanan olaylar\u0131 t\u00fcm \u00e7\u0131plakl\u0131\u011f\u0131yla yans\u0131tmaya \u00e7al\u0131\u015f\u0131r. Amac\u0131 bir sonu\u00e7 ortaya koymak de\u011fil, nesnel bi\u00e7imde ya\u015fananlar\u0131 edebi bir dille ve kendi bak\u0131\u015f a\u00e7\u0131s\u0131yla vermektir. Hatta Steinbeck 4 \u015eubat 1935\u2019de Mavis Mc\u0130ntosh\u2019a Pacific Grove\u2019dan yazd\u0131\u011f\u0131 mektupta i\u015f\u00e7ilerin konu\u015ftu\u011fu dili bile do\u011fal bi\u00e7imiyle yans\u0131tt\u0131\u011f\u0131n\u0131 dile getirir. Bununla birlikte nesnellik ba\u011flam\u0131nda d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fczde yazar ayn\u0131 mektupta yap\u0131t\u0131n\u0131n ayr\u0131ks\u0131 yan\u0131n\u0131n ahlaki bir g\u00f6r\u00fc\u015f i\u00e7ermemesi oldu\u011funu belirtir. (30) Ancak Steinbeck b\u00f6yle dese de, \u00e7al\u0131\u015fmas\u0131 ahlaki bir bak\u0131\u015f a\u00e7\u0131s\u0131 ortaya koymaktad\u0131r. \u00d6rne\u011fin Mac\u2019in \u00f6len ve yaralanan i\u015f\u00e7ilerin durumlar\u0131ndan yararlan\u0131p yanda\u015f kazanmaya \u00e7al\u0131\u015fmas\u0131 a\u00e7\u0131k\u00e7a Steinbeck i\u00e7in ahlak a\u00e7\u0131s\u0131ndan olumsuz durumdur. \u00c7ok a\u00e7\u0131k olmasa da yazar\u0131n b\u00f6yle bir yakla\u015f\u0131ma olumsuz bakt\u0131\u011f\u0131 sezilir. Zaten bir yazar\u0131n bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 \u00f6\u011fretici bir dille a\u00e7\u0131k\u00e7a dile getirmesi yap\u0131t\u0131 dura\u011fan ve s\u0131k\u0131c\u0131 k\u0131lacakt\u0131r.<\/p>\n<p>Yazar i\u00e7in ancak yurt savunmas\u0131nda her t\u00fcrl\u00fc ara\u00e7 siyaset i\u00e7in kullan\u0131labilir. \u00d6rne\u011fin Norve\u00e7\u2019de Naziler\u2019e kar\u015f\u0131 Belediye Ba\u015fkan\u0131 Orden\u2019in \u00f6nderli\u011finde direnen bir kasabay\u0131 anlatt\u0131\u011f\u0131 <em>Ay Batt\u0131<\/em>\u2019da (<em>Moon is Down<\/em>; 1942) \u00f6lm\u00fc\u015f bir insan yurdunu i\u015fgalci g\u00fc\u00e7lere kar\u015f\u0131 savunanlarca direnci artt\u0131rma yolunda kullan\u0131l\u0131r. Bu noktada Steinbeck hakl\u0131 olarak yitirecek bir \u015feyi olmayan halk\u0131n her bi\u00e7imde yurt savunmas\u0131 i\u00e7in \u00e7al\u0131\u015faca\u011f\u0131n\u0131 ortaya koyar. Ancak Steinbeck\u2019in burada bize d\u00fc\u015f\u00fcnd\u00fcrd\u00fc\u011f\u00fc ayr\u0131m <em>Bitmeyen Kavga<\/em>\u2019da toplumsal devinim i\u00e7inde insan\u0131n bireyseli a\u015fan toplumsal s\u00fcr\u00fcklenmenin i\u00e7inde olmas\u0131, oysa <em>Ay Batt\u0131<\/em>\u2019da art\u0131k insan\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc ve ya\u015fam\u0131n\u0131 tamamen yitirme noktas\u0131na geli\u015fiyle ilgilidir. Direni\u015fin ba\u015f\u0131nda zor durumdaki Orden, kar\u015f\u0131s\u0131ndaki Nazi Albay\u0131 Lanser\u2019e \u015funlar\u0131 s\u00f6yler: \u201c\u00d6zg\u00fcr insanlar sava\u015f ba\u015flatamazlar ama, bir ba\u015flat\u0131ld\u0131 m\u0131, yenik olsalar bile nas\u0131l sava\u015facaklar\u0131n\u0131 bilirler. \u0130nsan s\u00fcr\u00fcleri, bir liderin ard\u0131ndan kay\u0131ts\u0131z \u015farts\u0131z gidenlerse; bunu yapamazlar. Bu y\u00fczden her zaman k\u00fc\u00e7\u00fck \u00e7arp\u0131\u015fmalar\u0131 kazananlar insan s\u00fcr\u00fcleridir. Ama as\u0131l b\u00fcy\u00fck sava\u015flar, her zaman, \u00f6zg\u00fcr insanlar taraf\u0131ndan kazan\u0131l\u0131r. Bunun b\u00f6yle oldu\u011funu \u00e7ok yak\u0131nda siz de g\u00f6recek ve buna tan\u0131k olacaks\u0131n\u0131z, efendim.\u201d (31)<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Yazar siyaset yapmaya kalk\u0131nca, yazarl\u0131k verimi azalm\u0131\u015ft\u0131r<\/em><\/strong><\/p>\n<p>Steinbeck\u2019in genel bak\u0131\u015f a\u00e7\u0131s\u0131 g\u00f6zlendi\u011finde alttan alta toplumsal devinimlerin \u00f6zg\u00fcr yap\u0131y\u0131 bozabilece\u011fi kayg\u0131s\u0131 duyulur. Ancak insan\u0131n yurdunu ve \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fc korumas\u0131 i\u00e7in y\u00fcr\u00fct\u00fclecek toplumsal devinim her bi\u00e7imiyle hakl\u0131d\u0131r. Burada belirtilmesi gereken \u00f6nemli bir nokta Steinbeck\u2019in son d\u00f6nemlerinde yurt savunmas\u0131n\u0131n s\u00f6z konusu olmad\u0131\u011f\u0131 bir durumda Vietnam Sava\u015f\u0131\u2019n\u0131 destekler bir tutum almas\u0131d\u0131r. <em>Mektuplarda Bir Ya\u015fam<\/em>\u2019da da belirtildi\u011fi gibi, Vietnam Sava\u015f\u0131\u2019na verilen destek yazar\u0131n Lyndon B. Johnson\u2019a 28 May\u0131s 1966\u2019da Sag Harbor\u2019dan yazd\u0131\u011f\u0131 mektubunda g\u00f6r\u00fclmektedir. Bu mektuptan Steinbeck\u2019in ikinci \u00e7ocu\u011funun bu sava\u015fa gidi\u015fine olumlu bakt\u0131\u011f\u0131n\u0131 da \u00f6\u011freniyoruz. <em>Mektuplarda Bir Ya\u015fam<\/em>\u2019da bu deste\u011fin yazara olan ele\u015ftirileri de artt\u0131rd\u0131\u011f\u0131 belirtilmektedir. (32) Yazar\u0131n bu bak\u0131\u015f\u0131, \u00f6nceki al\u0131nt\u0131ya bak\u0131ld\u0131\u011f\u0131nda, a\u00e7\u0131k\u00e7a onun ge\u00e7mi\u015fteki bak\u0131\u015f\u0131yla \u00e7eli\u015fmektedir.<\/p>\n<p>Yazar\u0131n son d\u00f6nemlerindeki verimlili\u011finin g\u00f6zle g\u00f6r\u00fcn\u00fcr bi\u00e7imde azalmas\u0131nda onun bu siyasi konular\u0131n i\u00e7ine fazlaca girmi\u015f olmas\u0131 da etkili olmu\u015f olmal\u0131d\u0131r. \u00d6rne\u011fin 1963\u2019de Kennedy\u2019nin \u00f6nerisiyle Amerika\u2019n\u0131n Moskova B\u00fcy\u00fckel\u00e7ili\u011fi\u2019ndeki K\u00fclt\u00fcr Ate\u015fesi Leslie Brady k\u00fclt\u00fcr al\u0131\u015fveri\u015f program\u0131n\u0131n y\u00fcr\u00fct\u00fclmesi ba\u011flam\u0131nda Steinbeck\u2019i Sovyetler Birli\u011fi\u2019ne \u00e7a\u011f\u0131rd\u0131. (33) O d\u00f6nemdeki mektuplar\u0131nda kendine \u2018k\u00fclt\u00fcr sat\u0131c\u0131s\u0131\u2019 diyen Steinbeck kat\u0131ld\u0131\u011f\u0131 resmi toplant\u0131lar\u0131n d\u0131\u015f\u0131nda Sovyetler Birli\u011fi\u2019nin muhalif yazarlar\u0131yla da toplant\u0131lara kat\u0131ld\u0131. (34) Ayr\u0131ca yazar, son d\u00f6nemlerinde ba\u015fkana, h\u00fck\u00fcmete \u00f6zellikle i\u00e7 ve d\u0131\u015f siyaset konusunda \u00e7e\u015fitli destekler ve g\u00f6r\u00fc\u015fler aktarmaya \u00e7al\u0131\u015f\u0131yordu. G\u00f6r\u00fcl\u00fcyor ki Steinbeck, son d\u00f6neminde yazma konusunda g\u00f6sterece\u011fi \u00e7abay\u0131 uzman\u0131 olmad\u0131\u011f\u0131 ve i\u00e7 y\u00fcz\u00fcn\u00fc do\u011fal olarak yeterince bilemeyece\u011fi konulara harc\u0131yordu. Onun siyasi konular\u0131n i\u00e7ine \u00e7ok\u00e7a girmesi \u00fcretkenli\u011fi \u00fczerinde olumsuz bir etki yapm\u0131\u015f olmal\u0131d\u0131r.<\/p>\n<p>Yeniden Steinbeck\u2019in somut toplumsal sorunlar\u0131 ele ald\u0131\u011f\u0131 \u00e7al\u0131\u015fmalara d\u00f6nelim. <em>Bitmeyen Kavga<\/em>\u2019da genelde herhangi bir ele\u015ftirel yakla\u015f\u0131m s\u00f6z konusu olmadan i\u015f\u00e7iyle i\u015fveren aras\u0131ndaki sorunlar ortaya konulmu\u015ftur. Steinbeck\u2019in hemen t\u00fcm romanlar\u0131nda oldu\u011fu gibi, \u00f6yk\u00fc havas\u0131 i\u00e7inde s\u00fcrd\u00fcr\u00fclen bu yap\u0131t bitmemi\u015f bir yap\u0131t izlenimi verir. Belki Steinbeck\u2019in klasik bi\u00e7imde bitmi\u015f g\u00f6r\u00fcnen tek roman\u0131 <em>Tatl\u0131 Per\u015fembe<\/em>\u2019dir. Yani <em>Tatl\u0131 Per\u015fembe<\/em> belli bir k\u00fclt\u00fcr\u00fc olan Doc ve ne kadar y\u00fcrekli bir kad\u0131n olsa da \u00e7ok ayr\u0131 bir d\u00fcnyadan gelen fahi\u015fe Suzy\u2019nin beklenen evlili\u011fiyle biter. Ancak ger\u00e7ekte b\u00f6yle bir evlili\u011fin roman\u0131n t\u00fcm\u00fc okundu\u011funda pek de s\u00fcremeyece\u011fi g\u00f6r\u00fclmektedir. Bu ba\u011flamda yine de roman\u0131n sonunu belirlemek okuyucuyu kal\u0131r. Steinbeck genelde roman\u0131n sonunu belirlemeyi okuyucuya b\u0131raksa da, <em>Bitmeyen Kavga<\/em> ortaya konu\u015f tarz\u0131yla okuyucunun tamamlamas\u0131n\u0131n hem zor oldu\u011fu hem de yazar\u0131n genelde \u00f6b\u00fcr romanlar\u0131na g\u00f6re insana umut verme \u00e7abas\u0131 ta\u015f\u0131mayan bir romand\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u201cGazap \u00dcz\u00fcmleri\u201d ortak\u00e7\u0131lar\u0131n ve g\u00f6\u00e7men i\u015f\u00e7ilerin sorunlar\u0131na yo\u011funla\u015f\u0131r<\/em><\/strong><\/p>\n<p>Oysa Steinbeck yine i\u015f\u00e7i sorunlar\u0131n\u0131 ele ald\u0131\u011f\u0131 <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde konuyu do\u011frudan mevsimlik i\u015f\u00e7ilik yapmak zorunda kalan insanlar\u0131n a\u00e7\u0131s\u0131ndan ele al\u0131rken, karamsarl\u0131k yaratan bir hava i\u00e7inde de olsa, sonunda insan\u0131n oldu\u011fu yerde her zaman umut vard\u0131r ger\u00e7e\u011fini duyurur.<em> Yukar\u0131 Mahalle<\/em>\u2019de zor ko\u015fullar\u0131n yaratt\u0131\u011f\u0131 dayan\u0131\u015f\u0131k insan tipi <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde de\u011fi\u015fik bir ortamda ve de\u011fi\u015fik bir anlat\u0131mla yine kar\u015f\u0131m\u0131za \u00e7\u0131kar. Oysa Steinbeck <em>Bitmeyen Kavga<\/em>\u2019da k\u0131s\u0131r siyaset i\u00e7inde Mac\u2019in insanlar\u0131 b\u00fct\u00fcnle\u015ftirmek i\u00e7in zorla bir dayan\u0131\u015fma yaratma \u00e7abas\u0131n\u0131n \u00fczerinde durmu\u015ftur. Ancak yazar <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019ni yazarken, \u00f6nceden de belirtti\u011fimiz gibi, g\u00f6\u00e7men i\u015f\u00e7ilerin kamplar\u0131nda kalm\u0131\u015f ve onlar\u0131n ya\u015fad\u0131\u011f\u0131 zorluklar\u0131 g\u00f6zleriyle g\u00f6rm\u00fc\u015ft\u00fcr. Yazar bu konuya k\u0131s\u0131r siyasetin i\u00e7inden \u00e7\u0131karak, do\u011frudan insanlar\u0131n \u00e7ekti\u011fi s\u0131k\u0131nt\u0131lar\u0131 ele alarak bakar. Yans\u0131z bak\u0131\u015f\u0131 i\u00e7inde o yap\u0131t\u0131nda iktisadi dizgenin getirdi\u011fi s\u0131k\u0131nt\u0131lar\u0131 a\u00e7\u0131k\u00e7a ortaya koymu\u015ftur.<\/p>\n<p>Steinbeck <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019ne Oklahoma\u2019da kurakl\u0131k y\u0131llar\u0131n\u0131n getirdi\u011fi s\u0131k\u0131nt\u0131lar\u0131 ya\u015fayan ortak\u00e7\u0131lar\u0131n sorunlar\u0131n\u0131 anlatarak girer. Toprak sahipleri bu kurakl\u0131k y\u0131llar\u0131nda bankalardan ald\u0131klar\u0131 kredileri \u00f6deyemedik\u00e7e topraklar\u0131n\u0131 birle\u015ftirmeye ve ortak\u00e7\u0131lar\u0131 topraklar\u0131ndan \u00e7\u0131karmaya bakarlar. \u00d6zellikle yeni teknolojinin yani trakt\u00f6r\u00fcn tar\u0131mda kullan\u0131lmas\u0131 topraklar\u0131n toplu bi\u00e7imde i\u015fletilmesini kolayla\u015ft\u0131rm\u0131\u015ft\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Topra\u011fa ve \u00fcr\u00fcn\u00fcne yabanc\u0131la\u015fan ortak\u00e7\u0131<\/em><\/strong><\/p>\n<p>Steinbeck bu roman\u0131nda yaln\u0131z somut toplumsal bir sorunu ortaya koymakla kalmaz, ayn\u0131 zamanda yapt\u0131\u011f\u0131 i\u015fi i\u00e7selle\u015ftiren ve duyumsayan insan\u0131n aras\u0131na teknolojinin giri\u015fini, bu durumun insan d\u00fcnyas\u0131nda yapt\u0131\u011f\u0131 de\u011fi\u015fimi, insan\u0131n yapt\u0131\u011f\u0131 i\u015fle ba\u011f\u0131n\u0131 kopararak onu i\u015fine yabanc\u0131la\u015ft\u0131rmas\u0131n\u0131 anlat\u0131r. Yazar teknolojik ilerleme nedeniyle insan\u0131n ortaya koydu\u011fu \u00fcr\u00fcnle yabanc\u0131la\u015fmas\u0131n\u0131 \u015f\u00f6yle a\u00e7\u0131klar: \u201cOrtak\u00e7\u0131 d\u00fc\u015f\u00fcn\u00fcyordu: \u2018Ne garip, insan bir mala sahip oldu mu, o mal art\u0131k onun kendisidir, par\u00e7as\u0131d\u0131r ve ona benzer. \u0130nsan \u00fczerinde y\u00fcr\u00fcyebiliyor, onu i\u015fleyebiliyor, iyi \u00fcr\u00fcn vermezse \u00fcz\u00fcl\u00fcyor, ya\u011fmur ya\u011fd\u0131\u011f\u0131nda seviniyorsa o mal onundur. \u0130nsan ona sahip oldu\u011fu i\u00e7in kendisini b\u00fcy\u00fck g\u00f6r\u00fcr. \u00dcr\u00fcn almasa bile mal\u0131yla \u00f6\u011f\u00fcn\u00fcr. Bunu b\u00f6yle belle.\u2019 Ortak\u00e7\u0131 daha da derin d\u00fc\u015f\u00fcnd\u00fc. \u2018Di\u011fer yandan bir adam\u0131n g\u00f6rmedi\u011fi, parmaklar\u0131n\u0131 dald\u0131rmaya vakit bulamad\u0131\u011f\u0131 ya da \u00fczerinde y\u00fcr\u00fcmedi\u011fi bir mal\u0131 varsa; mal, ona sahiptir. \u00c7\u00fcnk\u00fc istedi\u011fini yapamaz, ne yapmak istedi\u011fini bilmez. O zaman mal insan demektir, ondan daha g\u00fc\u00e7l\u00fcd\u00fcr, insan k\u00fc\u00e7\u00fckt\u00fcr, b\u00fcy\u00fck de\u011fil. Sadece mal\u0131 b\u00fcy\u00fckt\u00fcr ve kendisi mallar\u0131n\u0131n hizmetk\u00e2r\u0131ndan ba\u015fka bir \u015fey de\u011fildir. Bunu da b\u00f6yle belle.\u2019\u201d (35) Burada \u00fcr\u00fcn\u00fcne yabanc\u0131la\u015fm\u0131\u015f, nesneye ba\u015f e\u011fmi\u015f insan anlat\u0131lmaktad\u0131r.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Topraks\u0131z kalan ortak\u00e7\u0131n\u0131n hesap sorabilece\u011fi kimse yoktur<\/em><\/strong><\/p>\n<p>Ortak\u00e7\u0131lar topraklar\u0131ndan \u00e7\u0131kmak zorunda b\u0131rak\u0131lm\u0131\u015f ya da zorla \u00e7\u0131kar\u0131lm\u0131\u015flard\u0131r. Mal sahipleri \u00fcretimdeki verim d\u00fc\u015f\u00fcnce bor\u00e7lanmak zorunda kald\u0131klar\u0131 bankalarla olan durumlar\u0131n\u0131 bahane ederler. Yazar mal sahiplerinin bankalar\u0131 bahane edi\u015fini \u015f\u00f6yle dile getirir: \u201cBanka-canavar- s\u00fcrekli k\u00e2r ister. Bekleyemez \u00f6l\u00fcr. Hay\u0131r olmaz, vergiler bir yandan i\u015fliyor. Canavar\u0131n b\u00fcy\u00fcmesi durursa \u00f6l\u00fcr. Ayn\u0131 boyda kal\u0131rsa ya\u015fam\u0131n\u0131 s\u00fcrd\u00fcremez.\u201d (36)<\/p>\n<p>Steinbeck yap\u0131t\u0131nda toprak sahiplerinin tekelle\u015fmesini ve ortak fiyat belirlemelerini ortaya koyarken art\u0131k s\u0131radan \u00e7ift\u00e7inin hesap soraca\u011f\u0131 kimselerin kalmad\u0131\u011f\u0131n\u0131 anlat\u0131r; mal sahibinin bahanesi haz\u0131rd\u0131r:\u00a0 \u201cBiz bunlar\u0131 biliyoruz, hepsini biliyoruz. Bu i\u015fi yapan biz de\u011filiz, Banka. Banka insana benzemez. Elli bin d\u00f6n\u00fcm topra\u011fa sahip ki\u015fi de insana benzemez. O da canavard\u0131r.\u201d (37)<\/p>\n<p>Art\u0131k insan\u0131n \u00f6fkesini bo\u015faltaca\u011f\u0131 bir kimse yoktur. Ba\u015fvurulabilecek somut insanlar\u0131n yerini soyut varl\u0131klar ve kurumlar alm\u0131\u015ft\u0131r. \u0130nsani de\u011ferlerin \u00e7\u00f6k\u00fcp yapay de\u011ferlerin \u00f6ne \u00e7\u0131k\u0131\u015f\u0131n\u0131 anlatt\u0131\u011f\u0131 son roman\u0131 <em>The Winter of OurDiscontent<\/em>\u2019de (<em>Mutsuzlu\u011fumuzun K\u0131\u015f\u0131<\/em>) benzer bir temay\u0131 yan-ki\u015filik Maggie ve ba\u015fki\u015filik Ethen\u2019in g\u00f6r\u00fc\u015fmesinde buluruz: \u201c\u2018Bence bo\u011fa g\u00fcre\u015fleri cesur olmayan ama olmay\u0131 isteyen adamlara g\u00f6re. E\u011fer g\u00f6rm\u00fc\u015fsen ne demek istedi\u011fimi anlars\u0131n. Pelerinle yap\u0131lan b\u00fct\u00fcn o numaralardan sonra bo\u011fan\u0131n orada olmayan bir \u015feyi \u00f6ld\u00fcrmeye u\u011fra\u015ft\u0131\u011f\u0131n\u0131 hat\u0131rlad\u0131n m\u0131?\u2019 \u2018Evet\u2019 \u2018Nas\u0131l huzursuz oldu\u011funu, kafas\u0131n\u0131n kar\u0131\u015ft\u0131\u011f\u0131n\u0131, bazen nas\u0131l sadece durup bir cevap arad\u0131\u011f\u0131n\u0131 hat\u0131rlad\u0131n m\u0131? Eh, i\u015fte o zaman ona bir at vermeleri gerek, yoksa kalbi k\u0131r\u0131l\u0131r. Boynuzlar\u0131n\u0131 somut bir \u015feye saplamal\u0131d\u0131r yoksa ruhu \u00f6l\u00fcr.\u2019\u201d (38)<\/p>\n<p><em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde g\u00f6r\u00fclece\u011fi gibi ger\u00e7ekten topraklar\u0131ndan g\u00f6\u00e7mek zorunda b\u0131rak\u0131lan insanlar ruhsal par\u00e7alanm\u0131\u015fl\u0131k i\u00e7inde haklar\u0131n\u0131 arayacak somut kimseleri bile kar\u015f\u0131lar\u0131nda bulamad\u0131lar.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u0130ktisadi ve toplumsal yap\u0131yla ilgili bildirimler de sunulur<\/em><\/strong><\/p>\n<p>Steinbeck sermayeci iktisadi dizgenin yap\u0131s\u0131n\u0131 yukar\u0131daki al\u0131nt\u0131lardan g\u00f6r\u00fclebilece\u011fi gibi yaln\u0131z roman kurgusu i\u00e7inde sunmakla kalmaz, ilk kez <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde kendisi i\u00e7in yeni olan bir y\u00f6ntem uygular: Zaman zaman roman\u0131n ak\u0131\u015f\u0131n\u0131 keserek de\u011fi\u015fik b\u00f6l\u00fcmlerde genel iktisadi ve toplumsal yap\u0131y\u0131 a\u00e7\u0131klayacak ek bildirimler sunar. \u00d6rne\u011fin yukardaki a\u00e7\u0131klamalar\u0131n benzerini t\u00fcm ailesi bat\u0131ya g\u00f6\u00e7se de kendi ya\u015fad\u0131\u011f\u0131 \u00e7evreyi b\u0131rakamayan Mulley\u2019nin a\u011fz\u0131ndan yine duyar\u0131z. G\u00f6\u00e7menli\u011fe zorlanan insanlar\u0131 topraklar\u0131n\u0131zdan atan\u0131n somut biri olmad\u0131\u011f\u0131n\u0131 Steinbeck ek a\u00e7\u0131klamalarda dile getirirken Mulley bir kez daha somut bir \u00f6rnekle durumu a\u00e7\u0131klar: \u201cEh buraya gelen adam \u00e7ok tatl\u0131 konu\u015ftu. \u2018\u00c7\u0131k\u0131p gitmeniz gerek, benim su\u00e7um de\u011fil\u2019 diyordu. Ben de sordum, \u2018Kimin su\u00e7u \u00f6yleyse? Gidip ona \u00e7atay\u0131m\u2019 dedim. \u2018Shawney Toprak ve Et \u00dcr\u00fcnleri \u015eirketi ad\u0131ndaki \u015firket. Ben onlardan emir ald\u0131m\u2019 dedi. \u2018Kimmi\u015f bu Toprak ve Et \u015eirketi dedi\u011fin\u2019 dedim. Bir kimse de\u011fil, bir \u015firket.\u2019 \u0130nsan\u0131 \u00e7\u0131ld\u0131rt\u0131rlar valla. Becerece\u011fin kimse yok kar\u015f\u0131nda.\u201d (39) Ele\u015ftirmenlerle pek aras\u0131 iyi olmayan yazar, yap\u0131t\u0131nda kulland\u0131\u011f\u0131 y\u00f6ntemle ilgili olumsuz ele\u015ftiriler alacakt\u0131r. Ele\u015ftirilerle ilgili 17 Nisan 1939\u2019da Elizabeth Otis\u2019e \u015f\u00f6yle yazar: \u201cEle\u015ftirmenlerin \u00e7o\u011fu genel b\u00f6l\u00fcmleri sevmemi\u015f. Ger\u00e7e\u011fin do\u011frudan do\u011fruya s\u00f6ylenmesinden ho\u015flanmad\u0131lar. Onlara g\u00f6re bu ger\u00e7ekler roman\u0131n i\u00e7inde eritilmeliydi. \u00c7ok \u015f\u00fck\u00fcr ki ele\u015ftirmenler i\u00e7in yaz\u0131yor de\u011filim. Okuyucular genelde o b\u00f6l\u00fcmleri be\u011fenmi\u015fler. \u0130lgin\u00e7. \u00d6yle san\u0131yorum ki ele\u015ftirmenlerin tutumu, al\u0131\u015f\u0131k olmad\u0131klar\u0131 bir \u015feye tepki g\u00f6stermek.\u201d (40)<\/p>\n<p>Asl\u0131nda ele\u015ftirmenlerin yakla\u015f\u0131m\u0131 \u00e7ok da haks\u0131z de\u011fildir. \u00c7\u00fcnk\u00fc Steinbeck roman\u0131n anlat\u0131m\u0131 i\u00e7inde verdi\u011fi pek \u00e7ok konuyu ek bildirim ve \u00f6rneklemelerle verince, gereksiz yinelemeler yapmak durumunda kal\u0131r. Bu yap\u0131t Steinbeck\u2019in en iyi romanlar\u0131ndan biri olmas\u0131na ra\u011fmen ger\u00e7ekten bu anlamda s\u0131k\u0131nt\u0131l\u0131d\u0131r.<\/p>\n<p>Yazar <em>Cennet Yolu<\/em>\u2019nda da benzer bir y\u00f6ntem kullanm\u0131\u015ft\u0131r. Ancak bu yap\u0131ttaki ek a\u00e7\u0131klamalar yinelemeler i\u00e7ermez. Ancak yine de bu y\u00f6nteme \u00e7ok olumlu bakmak zordur. <em>Cennet Yolu<\/em> da Steinbeck\u2019in en iyi romanlar\u0131ndan birisi olmas\u0131na ra\u011fmen kullan\u0131lan bu y\u00f6ntem yap\u0131t\u0131n\u0131n ak\u0131c\u0131l\u0131\u011f\u0131n\u0131 zedeler. Bununla birlikte bu y\u00f6ntem <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde daha s\u0131kl\u0131kla kullan\u0131l\u0131r. B\u00f6ylece okuyucu roman kahramanlar\u0131n\u0131n ortaya koydu\u011fu durumlar d\u0131\u015f\u0131nda bir de genel \u00e7er\u00e7evede baz\u0131 belirlemelerle y\u00fcz y\u00fcze gelir.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Steinbeck, \u201cGazap \u00dcz\u00fcmleri\u201d bas\u0131ld\u0131\u011f\u0131nda tehditler alm\u0131\u015ft\u0131r!..<\/em><\/strong><\/p>\n<p>Ancak ele\u015ftiriler elbette yaln\u0131zca yazar\u0131n edebi yakla\u015f\u0131m\u0131yla ilgili de\u011fildi. Ekim 1939\u2019da Los Gatos\u2019dan Elizabeth Otis\u2019e yazd\u0131\u011f\u0131 bir ba\u015fka mektupta Steinbeck \u00c7ift\u00e7iler Birli\u011fi\u2019nin kendisini kom\u00fcnistlik ve yalanc\u0131l\u0131kla su\u00e7lad\u0131\u011f\u0131ndan yak\u0131n\u0131yordu. (41) Ancak o y\u0131llar sonra Chase Hortn\u2019a yazd\u0131\u011f\u0131 bir mektupta bu ele\u015ftirilerin \u00f6tesinde \u00e7ok zor bir durumda oldu\u011funu yazar: \u201cSana bir \u00f6yk\u00fc anlatay\u0131m: Gazap \u00dcz\u00fcmleri bas\u0131ld\u0131\u011f\u0131 zaman \u00e7ok kimse bana ate\u015f p\u00fcsk\u00fcr\u00fcyordu. Santa Clara \u015ferif yard\u0131mc\u0131s\u0131 arkada\u015f\u0131md\u0131. \u015eunlar\u0131 s\u00f6yledi bir g\u00fcn: \u2018Bir otele yaln\u0131z ba\u015f\u0131na gitti\u011fin olmuyor mu? Her dakika ne yapt\u0131\u011f\u0131n\u0131 bir yere yaz. \u00c7iftlikten ayr\u0131ld\u0131\u011f\u0131n zaman yan\u0131nda bir iki arkada\u015f\u0131n bulunsun. Otelde tek ba\u015f\u0131na kalma.\u2019 Nedenini sordu\u011fumda, \u2018Belki de tehlikeyi \u00fcst\u00fcme \u00e7ekiyorum ama, bunlar senin i\u00e7in bir oyun haz\u0131rl\u0131yorlar. Otele yaln\u0131z gitti\u011fin bir g\u00fcn odana bir kad\u0131n girecek. Giysilerini par\u00e7alayacak. Kendi y\u00fcz\u00fcn\u00fc t\u0131rmalayacak hayk\u0131racak. \u0130\u015fte o zaman kendini temize \u00e7\u0131karmaya \u00e7al\u0131\u015f bakal\u0131m. Kitab\u0131na dokunmazlar. Daha kolay yollar bulurlar seni y\u0131kmak i\u00e7in.\u2019\u201d (42)<\/p>\n<p>Steinbeck \u00f6nceki mektuplar\u0131nda da g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi nice zorluklar\u0131 ya\u015fayaca\u011f\u0131n\u0131 iyi bilmektedir. Gene de o g\u00f6\u00e7men i\u015f\u00e7ilerin sorunlar\u0131n\u0131 bu yap\u0131t\u0131nda nesnel bir bi\u00e7imde dile getirirken y\u00fcreklidir.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>Ortak\u00e7\u0131lar, tar\u0131m i\u015f\u00e7ili\u011fi yapmak i\u00e7in bat\u0131ya g\u00f6\u00e7mek zorundad\u0131r<\/em><\/strong><\/p>\n<p>Yeninden <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019ine d\u00f6nersek, bu yap\u0131t\u0131n ba\u015fkahramanlar\u0131ndan Tom hapisten \u00e7\u0131k\u0131p Oklahama\u2019ya d\u00f6nd\u00fckten sonra bir anda olumsuz ko\u015fullarla kar\u015f\u0131la\u015f\u0131r. B\u00f6ylece Tom\u2019la birlikte onun geni\u015f ailesinin \u00fcyeleri de s\u00f6z\u00fc edilen s\u0131k\u0131nt\u0131lar\u0131 ya\u015fad\u0131klar\u0131ndan bat\u0131ya g\u00f6\u00e7mek zorunda kal\u0131rlar. Yolculuk boyunca s\u00fcren yeni bir ya\u015fam kurma umudu art\u0131k ya\u015fam\u0131n\u0131 yitirmeme umuduna d\u00f6n\u00fc\u015fecektir. Ayr\u0131ca bu geni\u015f aileye bir de y\u00f6renin eski pederi Casy kat\u0131l\u0131r. Daha \u00f6nce belirtmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z gibi Casy, Steinbeck\u2019in s\u00f6zc\u00fcs\u00fc gibidir. <em>Bitmeyen Kavga<\/em>\u2019da Steinbeck\u2019in Doktor Burton\u2019a s\u00f6yleyeceklerini s\u00f6yletip onu bir bi\u00e7imde ortadan kald\u0131rmas\u0131 gibi, bu romanda da yazar benzer bi\u00e7imde Casy\u2019ye s\u00f6yleyeceklerini s\u00f6yletir ve onu geri \u00e7eker. Steinbeck <em>Alt\u0131n Kupa<\/em>\u2019da nas\u0131l bireysel olarak yapt\u0131\u011f\u0131m\u0131z k\u00f6t\u00fcl\u00fcklerin s\u0131k\u0131nt\u0131lar\u0131n\u0131 vicdani a\u00e7\u0131dan bu d\u00fcnyada \u00e7ekece\u011fimizi Morgan\u2019\u0131n a\u011fz\u0131ndan dile getirdiyse, genel bak\u0131\u015f a\u00e7\u0131s\u0131yla vaizli\u011fi b\u0131rakan peder Casy\u2019nin a\u011fz\u0131ndan da d\u00fcnyada yarat\u0131lan t\u00fcm olumluluk ve olumsuzluklar\u0131n insanlar\u0131n i\u015fi oldu\u011funu belirtir: \u201c\u2018Cehennemin dibine&#8230; Ne g\u00fcnah ne de sevap diye bir \u015fey var. Sadece insanlar\u0131n yapt\u0131klar\u0131 ger\u00e7ek. Hepsi bir b\u00fct\u00fcn\u00fcn par\u00e7as\u0131. \u0130nsanlar\u0131n yapt\u0131klar\u0131 kimi \u015feyler iyi kimi \u015feyler de\u011fil.\u2019 \u0130\u015fte ki\u015finin bundan ba\u015fka bir \u015fey s\u00f6ylemeye hakk\u0131 yoktu.\u201d (43)<\/p>\n<p>Steinbeck <em>Gazap \u00dcz\u00fcmleri<\/em>\u2019nde bat\u0131ya g\u00f6\u00e7enlerin yol boyu \u00e7ektikleri s\u0131k\u0131nt\u0131lar\u0131 anlat\u0131r. Bat\u0131ya \u00fcr\u00fcn toplamaya ilanlarla \u00e7a\u011fr\u0131lan insanlar ayn\u0131 s\u0131k\u0131nt\u0131lar\u0131n ve dolay\u0131s\u0131yla ayn\u0131 yazg\u0131n\u0131n i\u00e7inde kendilerini bulurlar. Bu insanlar\u0131n dayan\u0131\u015fmas\u0131n\u0131 Steinbeck romanda pek g\u00fczel yans\u0131t\u0131r. Daha \u00f6nce belirtti\u011fimiz gibi yazar toplumsal devinimlerden tedirgindir. Bununla birlikte yine ara a\u00e7\u0131klamalardan birinde \u015fu tabloyu \u00e7izer: \u201c\u0130ki adam \u00e7\u00f6meliyor, kad\u0131nlar ve \u00e7ocuklar dinleniyor. \u0130\u015fte d\u00fc\u011f\u00fcm noktas\u0131 bu, de\u011fi\u015fimden nefret edenler ve devrimden korkanlar. Bu \u00e7\u00f6melen iki adam\u0131 ay\u0131r\u0131n, onlar\u0131 birbirinden nefret ettirin, korkutun ve ku\u015fku duymalar\u0131n\u0131 sa\u011flay\u0131n. Sizin korktu\u011funuz \u015feyin \u00e7ekirde\u011fi budur. Zigot, yani d\u00f6llenmi\u015f h\u00fccredir bu. \u00c7\u00fcnk\u00fc bu noktada \u2018topra\u011f\u0131m\u0131 kaybettim\u2019 s\u00f6z\u00fc<\/p>\n<p>de\u011fi\u015fmektedir. Bir h\u00fccre b\u00f6l\u00fcnmekte, o b\u00f6l\u00fcnmekten de sizin nefret etti\u011finiz \u015fey olu\u015fmaktad\u0131r. \u2018Biz topra\u011f\u0131m\u0131z\u0131 kaybettik\u2019 (&#8230;) \u2018Bende biraz yiyecek var,\u2019 art\u0131 \u2018bende bir \u015fey yok\u2019; \u2018bizde biraz yiyecek var\u2019 sonucunu do\u011furursa, hareket ba\u015flam\u0131\u015f ve y\u00f6n\u00fcn\u00fc bulmu\u015f demektir. (&#8230;) \u00c7ocuklar \u00fc\u015f\u00fcm\u00fc\u015ft\u00fcr. Dur \u015fu battaniyeleri al, y\u00fcnd\u00fcr, annemin battaniyesi idi, al da bebe\u011fe \u00f6rt. \u0130\u015fte bombalanacak \u015fey budur. Bu ba\u015flang\u0131\u00e7t\u0131r. \u2018Ben\u2019den \u2018biz\u2019e ge\u00e7i\u015ftir. E\u011fer insanlar\u0131n sahip olmalar\u0131 gereken \u015feylere sahip olan sizler, bunu anlayabilirseniz, kendinizi koruyabilirsiniz. E\u011fer nedenleri, sonu\u00e7lardan ay\u0131rabilirseniz ve e\u011fer, Paine, Marx, Jefferson ve Lenin\u2019in neden de\u011fil de sonu\u00e7 olduklar\u0131n\u0131 bilebilirseniz, ya\u015fayabilirsiniz. Ama bilemezsiniz. \u00c7\u00fcnk\u00fc sahip olmak niteli\u011fi sizi sonuna kadar \u2018ben\u2019 olarak dondurur ve sizi sonuna dek \u2018biz\u2019den koparm\u0131\u015ft\u0131r.\u201d (44)<\/p>\n<p>Steinbeck bir yandan yap\u0131t\u0131nda Tom\u2019un \u00f6b\u00fcr ailelerle dayan\u0131\u015fmas\u0131n\u0131 aktar\u0131rken toplumsal devinimlere \u00e7ekinceyle yakla\u015fsa da, \u00f6te yandan bu zor ko\u015fullarda grevlerin ve sendikalar\u0131n g\u00fcc\u00fcn\u00fcn k\u0131r\u0131l\u0131\u015f\u0131n\u0131n iyilik getirmedi\u011fini g\u00f6sterir. Bununla birlikte al\u0131nt\u0131daki anlat\u0131m\u0131 tutarl\u0131 de\u011fildir. Her d\u00fc\u015f\u00fcn\u00fcr\u00fcn, ne b\u00fcy\u00fck d\u00fc\u015f\u00fcn\u00fcr olursa olsun i\u00e7inde bulundu\u011fu iktisadi ve toplumsal ko\u015fullardan ba\u011f\u0131ms\u0131z d\u00fc\u015f\u00fcnce \u00fcretmesi olanaks\u0131zd\u0131r, buna g\u00f6re d\u00fc\u015f\u00fcnceler elbette birer sonu\u00e7turlar. \u00d6rne\u011fin i\u015f\u00e7ilerin ya\u015fam ko\u015fullar\u0131n\u0131 iyile\u015ftirme \u00e7abas\u0131 i\u00e7inde olan d\u00fc\u015f\u00fcn\u00fcrlerin bu y\u00f6nelimlerinin etkileri iyile\u015ftirici nedenler olabilmektedir.<\/p>\n<p>&nbsp;<\/p>\n<p><strong><em>\u201cGazap \u00dcz\u00fcmleri\u201dnde Amerika\u2019da ya\u015fanan toplumsal bir sorun yans\u0131zca ortaya konulmu\u015ftur<\/em><\/strong><\/p>\n<p>Yukardaki al\u0131nt\u0131nda g\u00f6r\u00fclece\u011fi gibi Steinbeck ald\u0131\u011f\u0131 ele\u015ftirilerle ne derece kom\u00fcnistlikle su\u00e7lan\u0131rsa su\u00e7lans\u0131n, yap\u0131t\u0131n\u0131 olabildi\u011fince yans\u0131z bi\u00e7imde olu\u015fturmaya \u00e7al\u0131\u015fm\u0131\u015ft\u0131r. \u00d6rne\u011fin Tom ve Casy ya\u015fl\u0131 bir adamla konu\u015furlarken ya\u015fl\u0131 adam g\u00f6rd\u00fc\u011f\u00fc toprak sahibi bir gazeteciyi tan\u0131tlar: \u201cBilemem, onun topra\u011f\u0131 bu kadarm\u0131\u015f. Biraz s\u0131\u011f\u0131r besliyor. Kimseler girmesin diye her yana bek\u00e7iler koymu\u015f. Kur\u015fun ge\u00e7irmez araba ile dola\u015f\u0131yor. Onun resimlerini g\u00f6rd\u00fcm. \u015ei\u015fko biri. Ufak, hain hain bakan g\u00f6zleri, e\u015fek gerisine benzeyen a\u011fz\u0131 var. \u00d6lmekten korkuyor. \u00c7eyrek milyon d\u00f6n\u00fcm\u00fc var ve \u00f6lmekten korkuyor.\u201d (45)<\/p>\n<p>Steinbeck\u2019in burada \u00f6zellikle zengin birini olumsuz g\u00f6stermek gibi bir \u00e7abas\u0131 yoktur. Daha \u00e7ok o b\u00f6lgede s\u0131k\u0131nt\u0131 \u00e7ekenlerin i\u00e7ten duygular\u0131n\u0131 ve \u00f6fkelerini yans\u0131tmakt\u0131r amac\u0131. Bununla birlikte burada \u00e7izilen tip ilgin\u00e7 bir bi\u00e7imde gazetecidir ve onun g\u00f6z\u00fc doymaz bi\u00e7imde bir mal edinme h\u0131rs\u0131 vard\u0131r. B\u00f6yle bir tip g\u00f6\u00e7men i\u015f\u00e7ilerin sorunlar\u0131n\u0131 hi\u00e7bir kar\u015f\u0131l\u0131k beklemeden yans\u0131tmaya \u00e7al\u0131\u015fan Steinbeck i\u00e7in olduk\u00e7a k\u00f6t\u00fc bir \u00f6rnektir. Casy yine s\u00f6z\u00fc edilen ki\u015filikteki toprak sahibiyle ilgili olarak yazar\u0131n bak\u0131\u015f\u0131n\u0131 \u015f\u00f6yle yans\u0131t\u0131r: \u201cE\u011fer kendini zengin hissetmesi i\u00e7in bir milyon d\u00f6n\u00fcme ihtiya\u00e7 duyuyorsa, i\u00e7ten i\u00e7e kendini yoksul hissediyor demektir. Ve asl\u0131nda g\u00f6nl\u00fc fakir olan kimse milyonlarca d\u00f6n\u00fcm toprak almakla zenginle\u015fmez ki. Belki de ne yaparsa yaps\u0131n, Wilson\u2019\u0131n B\u00fcy\u00fck baba \u00f6ld\u00fc\u011f\u00fcnde \u00e7ad\u0131r\u0131n\u0131 verdi\u011fi zamanki gibi zengin olamaz hi\u00e7bir zaman. Burada vaaz vermeye \u00e7al\u0131\u015fm\u0131yorum. \u00d6mr\u00fc boyunca a\u00e7 itler gibi har\u0131l har\u0131l mal m\u00fclk toplayanlar\u0131n hi\u00e7birinin mutlu oldu\u011funu g\u00f6rmedim.\u201d (46)<\/p>\n<p>Yine de Steinbeck soruna yans\u0131z bir bak\u0131\u015fla bakarken b\u00fct\u00fcn i\u015fadamlar\u0131n\u0131 olumsuz bi\u00e7imde ele almaz. Ancak yazar\u0131n nesnel bak\u0131\u015f\u0131 i\u00e7inde bu yap\u0131tta insan\u0131 umutsuzlu\u011fa s\u00fcr\u00fckleyen \u015fey t\u00fcm varl\u0131kl\u0131lar\u0131n olumsuz nitelikleri de\u011fil, tekelci iktisadi yap\u0131n\u0131n daha insani tutum almak isteyen ki\u015filerin \u00f6n\u00fcn\u00fc t\u0131kamas\u0131d\u0131r. Bu noktada Tom\u2019un buldu\u011fu ge\u00e7ici i\u015fin i\u015fvereni olan Thomas bu tekelci yap\u0131yla ilgili \u015funlar\u0131 s\u00f6yler: \u201c\u0130\u015fte ben bu birli\u011fe \u00fcyeyim. D\u00fcn gece bir toplant\u0131 yapt\u0131k. Bak\u0131n bu \u00c7ift\u00e7iler Birli\u011fi\u2019ni kim y\u00f6netiyor biliyor musunuz? Bat\u0131 Bankas\u0131. Bu vadinin b\u00fcy\u00fck bir b\u00f6l\u00fcm\u00fc o bankan\u0131nd\u0131r. Kalan k\u0131sm\u0131n\u0131n da senetleri vard\u0131r elinde. D\u00fcn gece bankay\u0131 temsil eden \u00fcye bana \u2018Sen saatine otuz sent \u00f6d\u00fcyormu\u015fsun. Bunu yirmi be\u015f sente indirsen iyi edersin\u2019 dedi. Ben de \u2018ama i\u015f\u00e7ilerim iyi \u00e7al\u0131\u015f\u0131yorlar\u2019 dedim. Bana \u2018sorun o de\u011fil\u2019 dedi. \u2018\u015fimdi \u00fccretler yirmi be\u015f sent. Sen otuz sent \u00f6dersen huzursuzlu\u011fa neden olursun. Hem gelecek y\u0131l tohum i\u00e7in yine bor\u00e7 almayacak m\u0131s\u0131n sen?\u2019 dedi.\u201d (47)<\/p>\n<p>Bu tekelci yap\u0131da k\u00fc\u00e7\u00fck toprak sahibinin \u00e7ok fazla ya\u015fama \u015fans\u0131 olmad\u0131\u011f\u0131 g\u00f6r\u00fclmektedir. \u00dcr\u00fcnlerin fiyat\u0131 d\u00fc\u015fse de, b\u00fcy\u00fck \u015firketler kar\u0131n toklu\u011funa toplatt\u0131klar\u0131 \u00fcr\u00fcnleri, kurduklar\u0131 konserve fabrikalar\u0131nda y\u00fcksek fiyata satarlar. Sonu\u00e7ta \u00fcr\u00fcn toplanan yerdeki g\u00f6\u00e7men kamplar\u0131nda kurulan d\u00fckk\u00e2nlardan yak\u0131nda ba\u015fka d\u00fckk\u00e2n olmad\u0131\u011f\u0131 i\u00e7in bu \u00fcr\u00fcnleri almak zorunda b\u0131rak\u0131lanlar, yine bu i\u015f\u00e7ilerdir. \u0130\u015f\u00e7ilere y\u00fcksek \u00fccret vermek isteyenler de, bu d\u00fczenin d\u0131\u015f\u0131na \u00e7\u0131kamazlar.<\/p>\n<p>Steinbeck yine bu yap\u0131t\u0131nda devletin kurdu\u011fu, ancak i\u015f\u00e7ilerin \u00f6zerk bir y\u00f6netim olu\u015fturdu\u011fu devlet kamplar\u0131ndaki olumlu dayan\u0131\u015fmac\u0131 havay\u0131 yans\u0131t\u0131r. Ancak d\u0131\u015fardan gelen k\u0131\u015fk\u0131rtmalar\u0131n ve ortal\u0131k kar\u0131\u015ft\u0131r\u0131c\u0131lar\u0131n \u00e7abalar\u0131yla bu devlet kamplar\u0131ndaki olumlu dayan\u0131\u015fmac\u0131 yap\u0131n\u0131n da s\u00fcreklili\u011fi olmayacakt\u0131r. Do\u011fduklar\u0131 topraklardan kopmak zorunda kalan bu insanlar geldikleri yeni yerlerde hem a\u015fa\u011f\u0131lanarak olumsuz kar\u015f\u0131lan\u0131yorlar hem de ancak ya\u015fam\u0131n\u0131 yitirmemesini sa\u011flayacak bir bedele kullan\u0131l\u0131yorlar. Bu nedenle Steinbeck olabildi\u011fince yans\u0131z bir bak\u0131\u015fla i\u015f\u00e7i sorunlar\u0131n\u0131 ele alsa da, hatta yap\u0131t\u0131 insan\u0131n oldu\u011fu yerde umut var fikrini ta\u015f\u0131sa da, <em>Gazap \u00dcz\u00fcmleri<\/em> Amerika\u2019da ya\u015fanan bir toplumsal sorunu t\u00fcm a\u00e7\u0131kl\u0131\u011f\u0131yla ortaya koydu\u011fundan, genel olarak okuyucuyu ka\u00e7\u0131n\u0131lmaz bi\u00e7imde karamsarl\u0131\u011fa iter.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>KAYNAKLAR<\/strong><\/p>\n<p>1) R. Gray, <em>A History of American Literature<\/em>, 2. b., Blackwell Publishing, USA, 2008.<\/p>\n<p>2) M. Loeffelholz, Ed. J. Reidhead, <em>The Norton Anthology of American Literature<\/em>, 7. b., W.W. Norton&amp;Company, New York, 2007.<\/p>\n<p>3) J. Steinbeck, <em>Alev<\/em>, \u00c7ev. O. Azizo\u011flu, 3. b., Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, Kas\u0131m 1958.<\/p>\n<p>4) J. Steinbeck, <em>Al Midilli<\/em>, \u00c7ev. B. \u00c7orak\u00e7\u0131 D\u0131\u015fbudak, Ad Yay\u0131nc\u0131l\u0131k, \u0130stanbul, Kas\u0131m 1996.<\/p>\n<p>5) J. Steinbeck, <em>Alt\u0131n Kupa<\/em>, \u00c7ev. E. Mutlu, Bilgi Yay\u0131nevi, Ankara, \u015eubat 1985.<\/p>\n<p>6) J. Steinbeck, <em>A\u015fk Otob\u00fcs\u00fc<\/em>, \u00c7ev. B. Kolo\u011flu, Bilgi Yay\u0131nevi, Ankara, A\u011fustos 1991.<\/p>\n<p>7) J. Steinbeck, <em>Ay Batt\u0131<\/em>, \u00c7ev. H. Zekai Yi\u011fitler &#8211; A. \u00d6zhan Yi\u011fitler, Oda Yay\u0131nlar\u0131, \u0130stanbul, Kas\u0131m 1991.<\/p>\n<p>8) J. Steinbeck, <em>Bilinmeyen Bir Tanr\u0131ya<\/em>, \u00c7ev. M. Harmanc\u0131, Bilgi Yay\u0131nevi, Ankara, Nisan 1985.<\/p>\n<p>9) J. Steinbeck, <em>Bir Numaral\u0131 Evde Olanlar<\/em>, \u00c7ev. T. Y\u00fccel, Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, Haziran 1955.<\/p>\n<p>10) J. Steinbeck, <em>Bir Sava\u015f Vard\u0131<\/em>, \u00c7ev. \u00dc. Tamer, 2. b., Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, 1991.<\/p>\n<p>11) J. Steinbeck, <em>Bitmeyen Kavga<\/em>, \u00c7ev. \u00d6. S\u00fcsoy, 7. b., Alt\u0131n Kitaplar Yay\u0131nevi, \u0130stanbul, Ekim 1991.<\/p>\n<p>12) J. Steinbeck, <em>Cennet \u00c7ay\u0131rlar\u0131<\/em>, \u00c7ev. B. \u00c7orak\u00e7\u0131 D\u0131\u015fbudak, Ad Yay\u0131nc\u0131l\u0131k, \u0130stanbul, Kas\u0131m 1996.<\/p>\n<p>13) J. Steinbeck, <em>Cennet Yolu<\/em>, \u00c7ev. D. \u00c7izer &#8211; \u00d6. Canda\u015f, Alt\u0131n Kitaplar Yay\u0131nevi, \u0130stanbul, 1973.<\/p>\n<p>14) J. Steinbeck, <em>Fareler ve \u0130nsanlar<\/em>, \u00c7ev. M. Re\u015fit, 4. b., Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, Ocak 1958.<\/p>\n<p>15) J. Steinbeck, <em>Gazap \u00dcz\u00fcmleri<\/em>, \u00c7ev. N. Silahtaro\u011flu, Cem Yay\u0131nevi, \u0130stanbul, 1991.<\/p>\n<p>16) J. Steinbeck, <em>\u0130nci<\/em><strong>, <\/strong>\u00c7ev. F. Kunt, 3. b., Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, A\u011fustos 1955.<\/p>\n<p>17) J. Steinbeck, <em>Ka\u00e7\u0131\u015f<\/em>, \u00c7ev. F. Karabey, 2. b., Varl\u0131k Yay\u0131nlar\u0131, \u0130stanbul, Haziran 1955.<\/p>\n<p>18) J. Steinbeck, <em>Kas\u0131mpatlar\u0131<\/em>, \u00c7ev. M. Fuat, Yeditepe Yay\u0131nlar\u0131, \u0130stanbul, May\u0131s 1953.<\/p>\n<p>19) J. Steinbeck, <em>K\u0131sa S\u00fcren Saltanat<\/em>, \u00c7ev. B. \u00c7orak\u00e7\u0131, Bilgi Yay\u0131nevi, Ankara, Ocak 1987.<\/p>\n<p>20) J. Steinbeck, <em>Mektuplarda Bir Ya\u015fam<\/em>, \u00c7ev. S. Ra\u015fa, Cem Yay\u0131nevi, \u0130stanbul, 1991.<\/p>\n<p>21) J. Steinbeck, <em>Mutsuzlu\u011fumuzun K\u0131\u015f\u0131<\/em>, \u00c7ev. F. \u00c7i\u011fdem \u00d6ztep, Bilgi Yay\u0131nevi, Ankara, Mart 1984.<\/p>\n<p>22) J. Steinbeck, <em>Sardalye Soka\u011f\u0131<\/em>, \u00c7ev. O. Azizo\u011flu, Bilgi Yay\u0131nevi, Ankara, Aral\u0131k 1989.<\/p>\n<p>23) J. Steinbeck, <em>Tatl\u0131 Per\u015fembe<\/em>, \u00c7ev. O. Azizo\u011flu, 2. b., Bilgi Yay\u0131nevi, Ankara, Aral\u0131k 1989.<\/p>\n<p>24) J. Steinbeck, <em>Yukar\u0131 Mahalle<\/em>, \u00c7ev. G. Akta\u015f, Oda Yay\u0131nlar\u0131, \u0130stanbul, Ocak 1987.<\/p>\n<p>25) A. Timu\u00e7in, <em>Estetik<\/em>, 8. b., Bulut Yay\u0131nlar\u0131, \u0130stanbul, Ekim 2008.<\/p>\n<p>26) A. Timu\u00e7in, <em>D\u00fc\u015f\u00fcnce Tarihi<\/em>, Bulut Yay\u0131nlar\u0131, \u0130stanbul, \u015eubat 2008.<\/p>\n<p>27) M. Urgan, <em>\u0130ngiliz Edebiyat\u0131 Tarihi<\/em>, 4. b., Yap\u0131 Kredi Yay\u0131nlar\u0131, \u0130stanbul, Kas\u0131m 2006.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>D\u0130PNOTLAR<\/strong><\/p>\n<p>1) J. Steinbeck, Mektuplarda Bir Ya\u015fam, \u00c7ev. S. Ra\u015fa, Cem Yay\u0131nevi, \u0130stanbul, 1991, s.55.<\/p>\n<p>2) Age, s.21.<\/p>\n<p>3) Age, s.362.<\/p>\n<p>4) J. Steinbeck, Alt\u0131n Kupa, \u00c7ev. E. Mutlu, Bilgi Yay\u0131nevi, Ankara, \u015eubat 1985, s.25.<\/p>\n<p>5) Age, s.26.<\/p>\n<p>6) Age, s.146.<\/p>\n<p>7) J. Steinbeck, Bilinmeyen Bir Tanr\u0131ya, \u00c7ev. M. Harmanc\u0131, Bilgi Yay\u0131nevi, Ankara, Nisan 1985, s.31.<\/p>\n<p>8) J. Steinbeck, Alt\u0131n Kupa, \u015eubat 1985, s.106.<\/p>\n<p>9) Age, s.215.<\/p>\n<p>10) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.30.<\/p>\n<p>11) Age, s.74.<\/p>\n<p>12) J. Steinbeck, Yukar\u0131 Mahalle, \u00c7ev. G. Akta\u015f, Oda Yay\u0131nlar\u0131, \u0130stanbul, Ocak 1987, s.5.<\/p>\n<p>13) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.359.<\/p>\n<p>14) J. Steinbeck, Sardalye Soka\u011f\u0131, \u00c7ev. O. Azizo\u011flu, Bilgi Yay\u0131nevi, Ankara, Aral\u0131k 1989, s.5.<\/p>\n<p>15) J. Steinbeck, Yukar\u0131 Mahalle, Ocak 1987, s.105-106.<\/p>\n<p>16) Age, s.121.<\/p>\n<p>17) J. Steinbeck, Sardalye Soka\u011f\u0131, Aral\u0131k 1989, s.140.<\/p>\n<p>18) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.60.<\/p>\n<p>19) Age, s.59.<\/p>\n<p>20) Age, s.66.<\/p>\n<p>21) Age, s.119.<\/p>\n<p>22) Age, s.101.<\/p>\n<p>23) Age, s.78.<\/p>\n<p>24) J. Steinbeck, Bitmeyen Kavga, \u00c7ev. \u00d6. S\u00fcsoy, 7. b., Alt\u0131n Kitaplar Yay\u0131nevi, \u0130stanbul, Ekim 1991, s.10.<\/p>\n<p>25) Age, s.14.<\/p>\n<p>26) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.77.<\/p>\n<p>27) Age, s.336.<\/p>\n<p>28) J. Steinbeck, Bitmeyen Kavga, Ekim 1991, s.122-123.<\/p>\n<p>29) Age, s.141-142.<\/p>\n<p>30) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.82.<\/p>\n<p>31) J. Steinbeck, Ay Batt\u0131, \u00c7ev. H. Z. Yi\u011fitler &#8211; A. \u00d6. Yi\u011fitler, Oda Yay\u0131nlar\u0131, \u0130stanbul, Kas\u0131m 1991, s.137-138.<\/p>\n<p>32) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.495.<\/p>\n<p>33) Age, s.452.<\/p>\n<p>34) Age, s.466.<\/p>\n<p>35) J. Steinbeck, Gazap \u00dcz\u00fcmleri, \u00c7ev. N. Silahtaro\u011flu, Cem Yay\u0131nevi, \u0130stanbul, 1991, s.40.<\/p>\n<p>36) Age, s.34.<\/p>\n<p>37) Age, s.35.<\/p>\n<p>38) J. Steinbeck, Mutsuzlu\u011fumuzun K\u0131\u015f\u0131, \u00c7ev. F. \u00c7. \u00d6ztep, Bilgi Yay\u0131nevi, Ankara, Mart 1984, s.278-279.<\/p>\n<p>39) J. Steinbeck, Gazap \u00dcz\u00fcmleri, 1991, s.50.<\/p>\n<p>40) J. Steinbeck, Mektuplarda Bir Ya\u015fam, 1991, s.136.<\/p>\n<p>41) Age, s.141.<\/p>\n<p>42) Age, s.140.<\/p>\n<p>43) J. Steinbeck, Gazap \u00dcz\u00fcmleri, 1991, s.25-26.<\/p>\n<p>44) Age, s.158-159.<\/p>\n<p>45) Age, s.215-216.<\/p>\n<p>46) Age, s.216.<\/p>\n<p>47) Age, s.308-309.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bu makalede, Amerikan edebiyat\u0131n\u0131n d\u00fcnyaca sevilen yazarlar\u0131ndan John Steinbeck\u2019in (1902-1968) bireye ve topluma bak\u0131\u015f\u0131 belli a\u00e7\u0131lardan d\u00f6nem d\u00f6nem inceleniyor. Makalenin bu ilk b\u00f6l\u00fcm\u00fcnde, yazar\u0131n yap\u0131tlar\u0131ndan Cup of Gold (Alt\u0131n Kupa), To A God Unknown (Bilinmeyen Bir Tanr\u0131ya), Tortilla Flat (Yukar\u0131 Mahalle), Cannery Row (Sardalye Soka\u011f\u0131), Sweet Thursday (Tatl\u0131 Per\u015fembe), In Dubious Battle (Bitmeyen Kavga) ve [&hellip;]<\/p>\n","protected":false},"author":273,"featured_media":9841,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[100,38,545],"tags":[275,237,643],"class_list":["post-9835","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-62-sayi","category-dergi-sayilari","category-edebiyat","tag-edebiyat","tag-felsefe","tag-roman"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.8 - aioseo.com -->\n\t<meta name=\"robots\" content=\"max-image-preview:large\" \/>\n\t<meta name=\"author\" content=\"Ali Timu\u00e7in\"\/>\n\t<link rel=\"canonical\" href=\"https:\/\/bilimvegelecek.com.tr\/index.php\/2009\/04\/01\/birey-toplum-diyalektiginde-steinbeckin-sanati-1\" \/>\n\t<meta name=\"generator\" content=\"All in One SEO (AIOSEO) 4.9.8\" \/>\n\t\t<meta property=\"og:locale\" content=\"tr_TR\" \/>\n\t\t<meta property=\"og:site_name\" content=\"Bilim ve Gelecek\" \/>\n\t\t<meta property=\"og:type\" content=\"article\" \/>\n\t\t<meta property=\"og:title\" content=\"Birey \u2013 toplum diyalekti\u011finde Steinbeck\u2019in sanat\u0131 \u2013 1 | Bilim ve Gelecek\" \/>\n\t\t<meta property=\"og:url\" content=\"https:\/\/bilimvegelecek.com.tr\/index.php\/2009\/04\/01\/birey-toplum-diyalektiginde-steinbeckin-sanati-1\" \/>\n\t\t<meta property=\"fb:app_id\" content=\"2104805563100892\" \/>\n\t\t<meta property=\"fb:admins\" content=\"1250955469\" \/>\n\t\t<meta property=\"og:image\" content=\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/05\/index.jpg\" \/>\n\t\t<meta property=\"og:image:secure_url\" content=\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/05\/index.jpg\" \/>\n\t\t<meta property=\"og:image:width\" content=\"259\" \/>\n\t\t<meta property=\"og:image:height\" content=\"194\" \/>\n\t\t<meta property=\"article:published_time\" content=\"2009-04-01T15:11:46+00:00\" \/>\n\t\t<meta property=\"article:modified_time\" content=\"2017-05-21T15:18:02+00:00\" \/>\n\t\t<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/bilimvegelecekdergisi\/\" \/>\n\t\t<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n\t\t<meta name=\"twitter:site\" content=\"@bilimvegelecek\" \/>\n\t\t<meta name=\"twitter:title\" content=\"Birey \u2013 toplum diyalekti\u011finde Steinbeck\u2019in sanat\u0131 \u2013 1 | Bilim ve Gelecek\" \/>\n\t\t<meta name=\"twitter:image\" content=\"https:\/\/bilimvegelecek.com.tr\/wp-content\/uploads\/2017\/05\/index.jpg\" \/>\n\t\t<script type=\"application\/ld+json\" class=\"aioseo-schema\">\n\t\t\t{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/index.php\\\/2009\\\/04\\\/01\\\/birey-toplum-diyalektiginde-steinbeckin-sanati-1#article\",\"name\":\"Birey \\u2013 toplum diyalekti\\u011finde Steinbeck\\u2019in sanat\\u0131 \\u2013 1 | Bilim ve Gelecek\",\"headline\":\"Birey &#8211; toplum diyalekti\\u011finde Steinbeck\\u2019in sanat\\u0131 &#8211; 1\",\"author\":{\"@id\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/index.php\\\/author\\\/altimucin#author\"},\"publisher\":{\"@id\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/#organization\"},\"image\":{\"@type\":\"ImageObject\",\"url\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/wp-content\\\/uploads\\\/2017\\\/05\\\/index.jpg\",\"width\":259,\"height\":194},\"datePublished\":\"2009-04-01T18:11:46+03:00\",\"dateModified\":\"2017-05-21T18:18:02+03:00\",\"inLanguage\":\"tr-TR\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/index.php\\\/2009\\\/04\\\/01\\\/birey-toplum-diyalektiginde-steinbeckin-sanati-1#webpage\"},\"isPartOf\":{\"@id\":\"https:\\\/\\\/bilimvegelecek.com.tr\\\/index.php\\\/2009\\\/04\\\/01\\\/birey-toplum-diyalektiginde-steinbeckin-sanati-1#webpage\"},\"articleSection\":\"62. 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