Ya\u015far Nabi Nay\u0131r<\/b> (\u00dcsk\u00fcp 1908-1981) ve Tahsin Y\u00fccel<\/b>\u2019i (Elbistan 1933-2016) tek tek ve bireysel anlamda ele ald\u0131\u011f\u0131m\u0131zda da, kesi\u015fen ve birle\u015fen yollardan hareketle birlikte d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcm\u00fczde de Cumhuriyet devrinin temsil de\u011ferleri bak\u0131m\u0131ndan iki anahtar edebiyat ve k\u00fclt\u00fcr emek\u00e7isiyle kar\u015f\u0131 kar\u015f\u0131ya oldu\u011fumuzu s\u00f6yleyebiliriz.<\/p>\n
\u0130lki<\/b> edebiyat\u0131n sanat y\u00f6n\u00fcnde kalem oynatmakla birlikte, Varl\u0131k\u2019\u0131n hem Ankara<\/a> hem \u0130stanbul<\/a> evresinde bas\u0131n-yay\u0131n faaliyeti ba\u011flam\u0131nda yapt\u0131klar\u0131yla, eskilere tan\u0131d\u0131\u011f\u0131 imk\u00e2nlar\u0131n yan\u0131 s\u0131ra yenilere a\u00e7t\u0131\u011f\u0131 yollar, sa\u011flad\u0131\u011f\u0131 f\u0131rsatlarla k\u00fclt\u00fcr tarihinde ne kadar m\u00fchim bir yere sahipse; di\u011feri<\/b> de Mara\u015f\u2019\u0131n Elbistan\/\u00d6tege\u00e7e\u2019sinden fakir, kimsesiz ve yetim bir \u00e7ocuk vasf\u0131yla geldi\u011fi \u0130stanbul\u2019da paras\u0131z (ve babas\u0131z) yat\u0131l\u0131 olarak okudu\u011fu okulu ba\u015far\u0131yla tamamlayan, pe\u015fi s\u0131ra at\u0131ld\u0131\u011f\u0131 akademik hayatta g\u00f6sterdi\u011fi performansla alan\u0131na ve T\u00fcrk edebiyat\u0131na yapt\u0131\u011f\u0131 katk\u0131larla ayr\u0131 bir dikkati hak eder.<\/p>\n Kendi patikalar\u0131nda b\u00f6ylesine \u00f6ne \u00e7\u0131kan -hatta prototip olan- bu \u015fahsiyetlerin yolunun kesi\u015fti\u011fini ka\u00e7 ki\u015fi bilir, ne kadar edebiyat tarih\u00e7isinin bundan haberi vard\u0131r bilemem ama bildi\u011fim bir \u015fey var ki o da iki kahraman\u0131n kar\u015f\u0131la\u015fmas\u0131 Tuna ile Sava nehirlerinin kavu\u015fmalar\u0131 kadar anlaml\u0131 ve \u015fiirseldir benim i\u00e7in. Do\u011fduklar\u0131 yerlerden ilham alarak s\u00f6ylersek Vardar (\u00dcsk\u00fcp) ile Ceyhan (Elbistan) \u0131rmaklar\u0131n\u0131n mek\u00e2nlar \u00fcst\u00fc vuslat\u0131d\u0131r.<\/p>\n Abartm\u0131yorum, ne dedi\u011fimin fark\u0131nday\u0131m. Tanzimat\u2019tan beri, T\u00fcrk edebiyat\u0131nda \u00e7ok\u00e7a \u00f6rne\u011fi g\u00f6r\u00fclen \u201custa\u201d-\u201c\u00e7\u0131rak\u201d, \u201choca\u201d-\u201ctalebe\u201d veya \u201cNay\u0131r-Y\u00fccel\u201d \u00f6rne\u011finde g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere \u201cpatron\u201d-\u201c\u00e7al\u0131\u015fan\u201d ili\u015fkisinin yeni ve \u00e7arp\u0131c\u0131 bir \u00f6rne\u011fiyle daha kar\u015f\u0131 kar\u015f\u0131yay\u0131z. Sait Faik<\/b>\u2019in cesaretlendirmesiyle ilk tohumu at\u0131lan bu mek\u00e2nlar \u00fcst\u00fc bulu\u015fmay\u0131\/kavu\u015fmay\u0131 Tahsin Y\u00fccel\u2019in a\u011fz\u0131ndan dinleyelim:<\/p>\n \u201c -\u0130lk \u00f6yk\u00fc kitab\u0131n\u0131z U\u00e7an Daireler 1954 ba\u015flar\u0131nda yay\u0131mlanm\u0131\u015f, siz yirmi, yirmi bir ya\u015flar\u0131ndayken\u2026<\/p>\n -Evet, \u00f6yle. Hem de d\u00f6nemin en sayg\u0131n yay\u0131nevi olan Varl\u0131k Yay\u0131nevi\u2019nde. Do\u011frusunu s\u00f6ylemek gerekirse, o g\u00fcnlerde hi\u00e7 de b\u00f6yle bir d\u00fc\u015f\u00fcm yoktu; san\u0131r\u0131m. Ya\u015far Nabi de o s\u0131rada pek usuna getirmezdi bunu. Ama, 1953 bahar\u0131nda bir hafta sonu, \u0130stikl\u00e2l Caddesi\u2019nde \u015e\u00fckran Kurdakul ve ba\u015fka bir arkada\u015fla Sait Faik\u2019e rastlad\u0131k. Onlar tan\u0131\u015f\u0131yorlard\u0131, ben ilk kez tan\u0131\u015ft\u0131m. Parmakkap\u0131\u2019da mimarlar\u0131n bir lokali vard\u0131. Orada oturduk. Sait Faik birka\u00e7 \u00f6yk\u00fcm\u00fc okudu\u011funu s\u00f6yleyerek \u015fa\u015f\u0131rtt\u0131 beni.<\/p>\n \u00d6yk\u00fclerimi bir kitapta toplamay\u0131 d\u00fc\u015f\u00fcn\u00fcp d\u00fc\u015f\u00fcnmedi\u011fimi sorarak daha da \u015fa\u015f\u0131rtt\u0131. B\u00f6yle bir \u015fey d\u00fc\u015f\u00fcnmek i\u00e7in \u00e7ok erken oldu\u011funu s\u00f6yledim. \u201cNeden\u201d dedi. Ya\u015far Nabi Bey\u2019in kitab\u0131m\u0131 seve seve basaca\u011f\u0131n\u0131 da ekledi. B\u00f6yle tak\u0131ld\u0131 bu d\u00fc\u015f\u00fcnce kafama.<\/b> Ama bunu Ya\u015far Nabi Bey\u2019le y\u00fcz y\u00fcze konu\u015fmay\u0131 g\u00f6ze alamad\u0131m. Ayn\u0131 y\u0131l, liseyi bitirip tatil i\u00e7in Elbistan\u2019a gittikten sonra, k\u0131sa bir mektup yazarak Sait Faik\u2019le kar\u015f\u0131la\u015fmam\u0131z\u0131 anlatt\u0131ktan sonra<\/b> \u00f6nerimi yapt\u0131m. Bir de, \u00fcniversite \u00f6\u011frenimimi \u00e7al\u0131\u015farak yapaca\u011f\u0131ma g\u00f6re, kitab\u0131m i\u00e7in alaca\u011f\u0131m telif hakk\u0131n\u0131n benim i\u00e7in y\u00fcreklendirici bir ba\u015flang\u0131\u00e7 olaca\u011f\u0131n\u0131 ekledim. Ya\u015far Bey\u2019den gelen mektup iki sorunumu birden \u00e7\u00f6z\u00fcyordu. Hem kitab\u0131m\u0131 1954 ba\u015flar\u0131nda yay\u0131mlamak \u00fczere izlenceye ald\u0131\u011f\u0131n\u0131 bildiriyor, hem de, \u015fimdiden bir i\u015f bulmu\u015f de\u011filsem, bana yay\u0131nevinin yaz\u0131 i\u015flerinde seve seve g\u00f6rev verebilece\u011fini s\u00f6yl\u00fcyordu. \u0130ki tasar\u0131 da ger\u00e7ekle\u015fti. Varl\u0131k\u2019ta 1953 sonlar\u0131ndan 1961 sonlar\u0131na dek \u00e7al\u0131\u015ft\u0131m; U\u00e7an Daireler de 1954 Nisan\u2019\u0131nda yay\u0131mland\u0131.\u201d (s. 46-47)1<\/a><\/p>\n Tahsin Y\u00fccel\u2019in anlatt\u0131klar\u0131nda \u00f6nce bir tesad\u00fcf\u00fcn (Sait Faik\u2019le kar\u015f\u0131la\u015fmak\/tan\u0131\u015fmak), sonra yolun ba\u015f\u0131nda olan gen\u00e7 bir yazar aday\u0131n\u0131n cesaretlendirilmesinin (Sait Faik\u2019in gen\u00e7 yazar\u0131 \u00f6yk\u00fclerini yay\u0131mlatmas\u0131 i\u00e7in y\u00fcreklendirmesi), daha sonra bir gencin mektup arac\u0131l\u0131\u011f\u0131yla devrin \u00f6nde gelen yazarlar\u0131ndan\/yay\u0131mc\u0131lar\u0131ndan birine ula\u015fmas\u0131n\u0131n (Y\u00fccel\u2019in Nay\u0131r\u2019a mektup yazmas\u0131), akabinde yaz\u0131lan bu mektubun usta yazar\/yay\u0131mc\u0131 taraf\u0131ndan cevaplanmas\u0131n\u0131n (Nay\u0131r\u2019\u0131n kendisine gelen mektuba cevap vermesi) ve b\u00fct\u00fcn bunlar\u0131n sonunda Y\u00fccel\u2019in hem kitab\u0131n\u0131 yay\u0131mlatmas\u0131 hem i\u015f bulmas\u0131 gibi gen\u00e7 bir yazar aday\u0131n\u0131n hayat\u0131na dokunan ayr\u0131nt\u0131lar\u0131n \u00f6ne \u00e7\u0131kt\u0131\u011f\u0131n\u0131 belirtelim.<\/p>\n Buna benzer bir yard\u0131mla\u015fma hadisesinin, Halit Ziya ile Halil Nihat aras\u0131nda da vuku buldu\u011funu yeri gelmi\u015fken hat\u0131rlatal\u0131m. \u00d6ncesinde benzerleri g\u00f6r\u00fclmekle birlikte Tanzimat\u2019tan sonra usta yazarlar\u0131n gen\u00e7lerin elinden tutmas\u0131, onlar\u0131 beslemeleri ve y\u00f6nlendirmeleri, erb\u00e2b-\u0131 \u015feb\u00e2b\u0131n da onlara ula\u015fmada a\u011f\u0131rl\u0131kl\u0131 olarak mektup t\u00fcr\u00fcn\u00fc kullanmalar\u0131 s\u0131k\u00e7a rastlanan bir durumdur. Bir ba\u015fka deyi\u015fle mektup t\u00fcr\u00fc, ustalarla gen\u00e7leri, yolu gurbete\/s\u00fcrg\u00fcne d\u00fc\u015fenlerle vatanda hayat s\u00fcrenleri, merkezde ya\u015fayanlarla ta\u015frada ikamet edenleri, hapse d\u00fc\u015fenlerle d\u0131\u015far\u0131dakileri2<\/a> bulu\u015fturan ana damarlardan biridir. T\u00fcrk edebiyat\u0131 Ahmet Mithat\u2019tan Nam\u0131k Kemal\u2019e, Recaizade\u2019den Ahmet \u0130hsan\u2019a, N\u00e2z\u0131m Hikmet\u2019ten Kemal Tahir\u2019e, Alangu\u2019dan Necatigil\u2019e, Yahya Kemal\u2019den Ahmet Ha\u015fim\u2019e, Tanp\u0131nar\u2019dan Ahmet Kutsi\u2019ye, Mehmet Kaplan\u2019dan Orhan Okay\u2019a kadar bunun \u00f6rnekleriyle doludur.<\/p>\n Tahsin Y\u00fccel\u2019in tek mektupla iki iste\u011fine birden ula\u015fmas\u0131n\u0131n hayat\u0131na nas\u0131l etki etti\u011fine sarf-\u0131 nazar etmek Cumhuriyet d\u00f6nemi k\u00fclt\u00fcr hayat\u0131n\u0131n \u015fifrelerinden birini \u00e7\u00f6zmek anlam\u0131na gelir biraz da. (\u00dcniversiteden s\u0131n\u0131f arkada\u015f\u0131m \u00d6mer Erdem, biz sadece derslere girip \u00e7\u0131karken Sezai Karako\u00e7\u2019un asistanl\u0131\u011f\u0131n\u0131 yap\u0131yordu.) 1953\u2019ten 1961 sonlar\u0131na kadar sekiz y\u0131l devam eden Varl\u0131k Yay\u0131nevi tecr\u00fcbesi hem maddi hem manevi anlamda Y\u00fccel\u2019e neler katm\u0131\u015ft\u0131r? Varl\u0131k Yay\u0131nevi\u2019ndeki sekiz y\u0131ll\u0131k \u00e7al\u0131\u015fma evresini, Tanzimat d\u00f6nemi sanat\u00e7\u0131lar\u0131n\u0131n Kalemler\u2019deki mesaileriyle birlikte ve benzer s\u00fcre\u00e7ler olarak d\u00fc\u015f\u00fcnmek ne kadar do\u011frudur? \u201cKalemler -ki o devrin \u00fcniversiteleridir- olmasayd\u0131, Tanzimat d\u00f6nemi sanat\u00e7\u0131lar\u0131 bu yoksunluktan olumsuz y\u00f6nde etkilenecek ve belki de kendilerini olu\u015fturacak, geli\u015ftirecek, hayata haz\u0131rlayacak bir ortam bulamayacaklard\u0131\u201d \u00f6l\u00e7\u00fcs\u00fcn\u00fc Y\u00fccel\u2019e uyarlayarak \u015f\u00f6yle bir soru sormak isteriz: \u201cSekiz y\u0131ll\u0131k Varl\u0131k Yay\u0131nevi ve Ya\u015far Nabi \u00e7\u0131rakl\u0131\u011f\u0131\/tecr\u00fcbesi olmasayd\u0131 Tahsin Y\u00fccel denen bu gen\u00e7 yazar ve bilim insan\u0131 namzedi bilgiye, sanata, k\u00fclt\u00fcre hatta T\u00fcrk\u00e7eye do\u011fru ne kadar yol alabilirdi?\u201d Cumhuriyet d\u00f6neminde bir\u00e7ok sanat\u00e7\u0131 i\u00e7in a\u00e7\u0131labilecek bu sorgulama alan\u0131n\u0131, s\u00f6z\u00fc \u00e7ok da uzatmadan, Y\u00fccel\u2019in s\u00f6ylediklerinden hareketle biraz daha anla\u015f\u0131l\u0131r k\u0131lmaya \u00e7al\u0131\u015fal\u0131m:<\/p>\n \u201c-1954\u2019te Varl\u0131k dergisine girmekle yaz\u0131n ortam\u0131na da ger\u00e7ek anlamda ad\u0131m atm\u0131\u015f oldunuz. Bu ortam size, \u00f6yk\u00fcc\u00fcl\u00fc\u011f\u00fcn\u00fcze, yaz\u0131n anlay\u0131\u015f\u0131n\u0131za, neler katt\u0131? Bug\u00fcnden bakt\u0131\u011f\u0131n\u0131zda, o g\u00fcnlerin yaz\u0131n ortam\u0131n\u0131, usta-\u00e7\u0131rak ili\u015fkilerini nas\u0131l anlat\u0131rs\u0131n\u0131z?…<\/p>\n -Bir\u00e7ok alanda do\u011frudan bir usta-\u00e7\u0131rak ili\u015fkisi vard\u0131r, ama yaz\u0131nda yoktur. Hi\u00e7 ku\u015fkusuz, birtak\u0131m ustalardan esinleniriz, etkileniriz, birtak\u0131m ustalar\u0131n bize \u00f6\u011f\u00fctler verdi\u011fi ve bizim bu \u00f6\u011f\u00fctlere uydu\u011fumuz da olur. Ama, bana sorarsan, hi\u00e7bir usta bir gen\u00e7 yazar\u0131 tek ba\u015f\u0131na y\u00f6nlendirecek \u00f6l\u00e7\u00fcde b\u00fcy\u00fck de\u011fildir\u2026<\/p>\n Benim b\u00f6yle bir ustam olmad\u0131 hi\u00e7bir zaman.<\/b> Ama Varl\u0131k\u2019ta \u00e7al\u0131\u015fmaya ba\u015flamakla bir ortama girdim, Cumhuriyet d\u00f6neminin en yarat\u0131c\u0131, en ilgin\u00e7 yaz\u0131n ku\u015fa\u011f\u0131n\u0131n ortam\u0131na. S\u00fcrekli olarak Oktay Akbal, Beh\u00e7et Necatigil, Necati Cumal\u0131, Sabahattin Kudret Aksal, Melih Cevdet Anday, Ya\u015far Kemal, Haldun Taner gibi ki\u015filerin aras\u0131nda bulunmak, g\u00f6zlemlerini dinlemek elbette y\u00f6nlendirdi beni. Ama b\u00f6ylesi, usta-\u00e7\u0131rak ili\u015fkisinden farkl\u0131 bir \u015fey.\u201d (s. 47-48)<\/p>\n (Biz \u0131srarla usta-\u00e7\u0131rak derken, Tahsin Y\u00fccel daha ilk c\u00fcmlede bizi bo\u015flu\u011fa d\u00fc\u015f\u00fcrd\u00fc. Haddimizi biliriz ve Y\u00fccel\u2019le polemi\u011fe girecek de\u011filiz ama bahse edebiyat tarih\u00e7isi g\u00f6z\u00fcyle bakt\u0131\u011f\u0131m\u0131zda meselenin s\u0131n\u0131rlar\u0131n\u0131 bu kadar kesin \u00e7izgilerle ortaya koyman\u0131n \u00e7ok da olas\u0131 g\u00f6r\u00fcnmedi\u011fini s\u00f6yleyebiliriz. Bir soruyla bahsi kapatal\u0131m: \u201cY\u00fccel, ustal\u0131k d\u00f6nemine denk gelen bu s\u00f6zleri gen\u00e7ken de s\u00f6yler miydi veya s\u00f6yleyebilir miydi?\u201d)<\/p>\n \u2026<\/p>\n \u201cB\u00fcroda, Ya\u015far Bey\u2019e konuklar geldi\u011fi zaman da \u00e7al\u0131\u015fmama pek ara vermezdim genelde. Ancak, Ziya Osman Saba, Ya\u015far Kemal, bir de Ata\u00e7 geldi\u011fi zaman ara verirdim \u00e7al\u0131\u015fmaya, bir de birka\u00e7 konuk bir arada geldi\u011fi zaman. Ziya Osman Saba hem \u00e7ok ince bir insan, hem de \u00e7ok koyu bir Galatasarayl\u0131<\/b>\u2019yd\u0131. Bir kez, bir \u00e7ocuk sevinciyle \u2018Ya\u015farc\u0131\u011f\u0131m, \u015fu odada \u00fc\u00e7 ki\u015fiyiz, \u00fc\u00e7\u00fcm\u00fcz de Galatasarayl\u0131y\u0131z, ne g\u00fczel, de\u011fil mi?<\/b>\u2019 deyi\u015fi hep belle\u011fimdedir. A\u011f\u0131r bir kalp krizinden sonra, evden d\u0131\u015far\u0131 \u00e7\u0131kamad\u0131\u011f\u0131 g\u00fcnlerde, Ya\u015far Bey\u2019in \u2018Bu adam hi\u00e7bir zaman ak\u0131llanmayacak: Radyodan Galatasaray ma\u00e7\u0131n\u0131 dinlemi\u015f gene!\u2019 diye homurdand\u0131\u011f\u0131n\u0131 i\u015fitmi\u015ftim.\u201d (s. 52)<\/p>\n (Ya\u015far Nabi\u2019nin yirmili ya\u015fta bir genci, hem de yan\u0131 ba\u015f\u0131nda i\u015fe ba\u015flatmas\u0131n\u0131n arkas\u0131ndaki nedenlerden biri ayn\u0131 liseden olmak olmal\u0131d\u0131r. \u201cAses\u201d hik\u00e2yesini okuyanlar bilirler ki Haldun Taner de iyi bir Fenerbah\u00e7eli\u2019dir.)<\/p>\n \u2026<\/p>\n \u201c\u2026 Ne olursa olsun, yaz\u0131n\u0131m\u0131z\u0131n \u00e7o\u011fu \u00fcnl\u00fcleriyle, Da\u011flarca\u2019yla, Anday\u2019la, Oktay Rifat\u2019la, Oktay Akbal\u2019la, Necati Cumal\u0131\u2019yla, Beh\u00e7et Necatigil\u2019le, Sabahattin Kudret Aksal\u2019la, Orhan Kemal\u2019le ilkin Varl\u0131k\u2019ta kar\u015f\u0131la\u015ft\u0131m genellikle.\u201d (s. 53)<\/p>\n (Y\u00fccel, Varl\u0131k\u2019ta \u00e7al\u0131\u015fmasayd\u0131 bunlardan ka\u00e7\u0131n\u0131 bu kadar yak\u0131ndan tan\u0131rd\u0131 bilemeyece\u011fim ama b\u00f6yle bir ortam\u0131n onu besledi\u011fini, g\u00f6nendirdi\u011fini biliyorum.)<\/p>\n (1940\u2019l\u0131, 1950\u2019li y\u0131llarda Ya\u015far Nabi\u2019nin b\u00fcrosuna gelmeyen sanat\u00e7\u0131 yok gibidir ama Sait Faik\u2019in buraya gelenler i\u00e7inde ayr\u0131 bir yeri vard\u0131r. Sait\u2019in \u00f6l\u00fcm\u00fcnden sonra yazd\u0131\u011f\u0131 bir yaz\u0131da Nay\u0131r, onun b\u00fcroya geli\u015flerinden birini \u015f\u00f6yle anlat\u0131r:<\/p>\n \u201cAra s\u0131ra kap\u0131m\u0131 usulca aralay\u0131p ba\u015f\u0131n\u0131 sokar, \u00fcrkek \u00fcrkek bakard\u0131. Ben sevin\u00e7le yerimden f\u0131rlarken (Sait\u2019i ne zaman g\u00f6rsem, hatta ba\u015f\u0131m\u0131n en kalabal\u0131k oldu\u011fu s\u0131ralarda bile, i\u00e7imi bir sevincin doldurdu\u011funu duymu\u015fumdur) o, kabahatli bir kedi haliyle i\u00e7eri girer, pek zahmetli, yerine getirilmesi pek g\u00fc\u00e7 bir dilekte bulunurmu\u015fcas\u0131na, fil\u00e2nca veya falanca kitab\u0131ndan birka\u00e7 tane daha verip veremeyece\u011fimi sorard\u0131. Her seferinde i\u00e7erlerdim bu haline \u2018Can\u0131m Sait, her zaman s\u00f6ylerim, kitaplar senin, ne kadar istersen al\u0131rs\u0131n. Miktar t\u00e2yin etmiyorum. Sormadan al be birader, \u00fczme beni\u2019 derdim. Ama Sait gene o s\u0131k\u0131lgan h\u00e2liyle, ald\u0131klar\u0131 bir hayli oldu\u011fu i\u00e7in \u00e7ekindi\u011fini s\u00f6ylerdi.\u201d)3<\/a><\/p>\n Yaz\u0131y\u0131 toparlaman\u0131n vakti geldi.<\/p>\n \u0130stanbul \u00dcniversitesi, Edebiyat Fak\u00fcltesi, Frans\u0131z ve Roman Filolojisi b\u00f6l\u00fcm\u00fcne yaz\u0131ld\u0131\u011f\u0131 1954 sonlar\u0131ndan 17 Ocak 2000\u2019e kadar -tam k\u0131rk alt\u0131 y\u0131l- akademinin i\u00e7inde bulunan ve ba\u015fta biz edebiyat\u00e7\u0131lar\u0131n \u00f6zel ilgisine mazhar olmu\u015f Nesterin Dirvana olmak \u00fczere S\u00fcheyla Bayrav, Adnan Benk, Eva Buck, Berke Vardar gibi alan\u0131n zirve isimleriyle \u00f6m\u00fcr ge\u00e7iren Y\u00fccel\u2019in ayr\u0131ca liseden ve sanat camias\u0131ndan hat\u0131r\u0131 say\u0131l\u0131r bir arkada\u015f\/dost \u00e7evresi vard\u0131r.<\/p>\n Bireysel okuma evrenime 1956 Sait Faik Hik\u00e2ye Arma\u011fan\u0131<\/b>\u2019n\u0131 kazanan Haney Ya\u015famal\u0131 ile giren ve burada yer alan \u201cGene A\u011flatm\u0131\u015flar Kara G\u00f6z\u00fcnden<\/b>\u201d \u00f6yk\u00fcs\u00fcyle beni kendisine ba\u011flayan Y\u00fccel ile hayal d\u00fcnyamda \u201cSait Faik-Tahsin Y\u00fccel\u201d k\u00f6pr\u00fcs\u00fc kurmu\u015ftum. (Y\u00fccel\u2019in ald\u0131\u011f\u0131 onlarca \u00f6d\u00fclle sizi yormak istemem.) Fakat bu yaz\u0131n\u0131n i\u00e7inden do\u011fdu\u011fu nehir s\u00f6yle\u015fiyi okurken Sait Faik\u2019in bir hat\u0131rlamay\u0131\u015f\u0131yla Y\u00fccel\u2019i ne kadar \u015fa\u015f\u0131rt\u0131p incitti\u011fini g\u00f6r\u00fcnce \u00fcz\u00fclm\u00fc\u015ft\u00fcm. Orada burada yay\u0131mlanan \u00f6yk\u00fclerini kitapla\u015ft\u0131rmas\u0131 i\u00e7in kendisini cesaretlendiren ve bu konuda adres g\u00f6steren Sait Faik\u2019le \u00e7al\u0131\u015fmaya ba\u015flad\u0131\u011f\u0131 Varl\u0131k Yay\u0131nevi\u2019nde bir kere daha kar\u015f\u0131la\u015fan Y\u00fccel, bu \u00f6yk\u00fcc\u00fcden daha \u00f6nce kar\u015f\u0131la\u015f\u0131p konu\u015ftuklar\u0131n\u0131n hat\u0131rlanmas\u0131n\u0131 bekler fakat bu beklenti ger\u00e7ekle\u015fmez. Y\u00fccel\u2019i \u00fczen\/ezen bu sahneyi, gelin birlikte okuyal\u0131m:<\/p>\n \u201c\u2026 Bir g\u00fcn yay\u0131nevine Sait Faik geldi.<\/b> Ya\u015far Bey\u2019le ayn\u0131 odada oturuyorduk. Ya\u015far Bey \u201cTahsin Bey\u2019i tan\u0131yorsun\u201d dedi. \u201cHay\u0131r, tan\u0131m\u0131yorum\u201d dedi Sait Faik. Ya\u015far Bey \u201cTahsin Y\u00fccel, can\u0131m\u201d dedi. Sait Faik \u201cAd\u0131n\u0131 duydum, ama hi\u00e7 kar\u015f\u0131la\u015fmad\u0131k\u201d deyip konuyu kapatt\u0131. Ya\u015far Bey benden yana d\u00f6nd\u00fc \u201cBo\u015fver, ald\u0131rma!\u201d dercesine g\u00fcl\u00fcmsedi. Ama nas\u0131l ezildi\u011fimi sen d\u00fc\u015f\u00fcn art\u0131k. B\u00f6yle bir duruma d\u00fc\u015fmektense, kitab\u0131m\u0131n hi\u00e7 yay\u0131mlamamas\u0131n\u0131 on kez ye\u011f tutard\u0131m.\u201d (s. 47)<\/p>\n Y\u00fccel bu kadarla bitirmez bu ezikli\u011fe neden olan Sait Faik tavr\u0131na getirdi\u011fi yorumu:<\/p>\n \u201c\u2026 Gen\u00e7 bir yazar\u0131 g\u00fc\u00e7 duruma d\u00fc\u015f\u00fcrmek gibi bir amac\u0131 olamayaca\u011f\u0131na g\u00f6re, neden b\u00f6yle yapm\u0131\u015ft\u0131 ki? Bir bellek bo\u015flu\u011fu mu s\u00f6z konusuydu? Yoksa ben biri ger\u00e7ek, biri sanal iki ayr\u0131 Sait Faik\u2019le mi kar\u015f\u0131la\u015fm\u0131\u015ft\u0131m? B\u00f6yleyse, ger\u00e7e\u011fi ikincisi olmal\u0131yd\u0131. \u00c7\u00fcnk\u00fc ikincisiyle o g\u00fcnden sonra da epeyce kar\u015f\u0131la\u015ft\u0131m ayn\u0131 yerde. Alemda\u011fda Var Bir Y\u0131lan\u2019\u0131n \u00e7o\u011fu \u00f6yk\u00fclerini dergide yay\u0131mlamadan \u00f6nce onun a\u011fz\u0131ndan dinledim, Ya\u015far Bey\u2019e okurken.\u201d (s. 47)<\/p>\n Sait Faik dalg\u0131nl\u0131\u011f\u0131 (veya bellek bo\u015flu\u011fu) Y\u00fccel\u2019in i\u00e7 d\u00fcnyas\u0131nda \u00f6ylesine yer eder ki nehir s\u00f6yle\u015finin ilerleyen sayfalar\u0131nda bu \u201cg\u00f6rmezden gelme\u201d veya \u201chat\u0131rlamama\u201d bahsi bir kere daha g\u00fcndeme gelir. Y\u00fccel\u2019in bu ruh h\u00e2lini zamanla a\u015ft\u0131\u011f\u0131n\u0131 g\u00f6stermesi bak\u0131m\u0131ndan bu k\u0131sa b\u00f6l\u00fcm\u00fc buraya almak isteriz:<\/p>\n \u201c\u2026 \u0130lk kar\u015f\u0131la\u015fmada, oturup konu\u015fmam\u0131za kar\u015f\u0131n, Sait Faik beni hi\u00e7 g\u00f6rmemi\u015f ya da ba\u015fka biri olarak g\u00f6rm\u00fc\u015f olabilir.\u201d<\/p>\n -Peki, neden b\u00f6yle oluyor dersiniz? Neden baz\u0131 baz\u0131 g\u00f6r\u00fcnmez oluyorsunuz?<\/p>\n -Bilemiyorum. Belki yarad\u0131l\u0131\u015f\u0131ma, davran\u0131\u015flar\u0131ma, devinimlerime, giyimime b\u00f6ylesi daha uygun d\u00fc\u015ft\u00fc\u011f\u00fc i\u00e7in. Ne olursa olsun, tersi daha korkun\u00e7tur: Hemen fark edilmek, herkesin ilgisini uyand\u0131rmak, vb. B\u00f6yle bir durum ya\u015fam\u0131 ya\u015fanmaz eder. Birtak\u0131m sak\u0131ncalar\u0131 olsa bile, ben g\u00f6r\u00fcnmezli\u011fimden ho\u015fnutum.\u201d (s. 206)<\/p>\n (\u201cVasiyetimdir: \/ Dalg\u0131nl\u0131\u011f\u0131n\u0131za gelmek istiyorum \/ Ve kaybolmak o dalg\u0131nl\u0131kta\u201d Didem Madak)<\/p>\n \u2026<\/p>\n Ba\u015fl\u0131ktaki sorunun cevab\u0131n\u0131 Sait Faik uzmanlar\u0131na b\u0131rak\u0131p birka\u00e7 iktibasla bu konudaki fikrimizi ima yoluyla da olsa okura g\u00f6stermek isteriz:<\/p>\n \u201cOnu \u00e7ocuklu\u011fundan beri tan\u0131rd\u0131m; talebemdi. S\u0131n\u0131fta sakin ve dalg\u0131n<\/b>, bah\u00e7ede yaln\u0131zd\u0131.\u201d4<\/a><\/p>\n \u201c\u00c7\u0131k\u0131k elmac\u0131kl\u0131 T\u00fcrkmen y\u00fcz\u00fcnde a\u00e7\u0131k mavi g\u00f6zleri, birer h\u00fclya penceresini and\u0131r\u0131r. Aklar\u0131 hemen daima kanl\u0131d\u0131r. \u00d6yle dalg\u0131n<\/b> bakarlar ki y\u00fcz\u00fcn\u00fcze sapland\u0131klar\u0131 vakitlerde de, sizi g\u00f6r\u00fcp g\u00f6rmediklerini pek kestiremezsiniz.\u201d5<\/a><\/p>\n \u201cAk\u015fam\u00fcstleri T\u00fcnel\u2019den Taksim\u2019e do\u011fru sol kald\u0131r\u0131mdan y\u00fcr\u00fcrseniz, g\u00f6z\u00fcn\u00fcze dalg\u0131n<\/b>, siyah g\u00f6zl\u00fckl\u00fc, y\u00fcz\u00fc kederli ama m\u00fcthi\u015f kederli -y\u00fcz\u00fcndeki keder besbellidir, elle tutulacak gibi, y\u00fczde donup kalm\u0131\u015ft\u0131r-, pantolonu \u00fct\u00fcs\u00fcz, a\u011farm\u0131\u015f sa\u00e7lar\u0131 kabarm\u0131\u015f bir adam \u00e7arpar. Bu adam\u0131n, bu Beyo\u011flu kalabal\u0131\u011f\u0131 i\u00e7inde bir hali vard\u0131r ki (daha do\u011frusu her hali) size bu koskocaman \u015fehirde yaln\u0131z, yapayaln\u0131z oldu\u011funu s\u00f6yler.\u201d6<\/a><\/p>\n \u201c\u2026 Ona geceleri sinemalarda rastlard\u0131m. Tan\u0131\u015fmazd\u0131k. Sineman\u0131n \u00f6n s\u0131ralar\u0131na oturur, koltu\u011funa iyice g\u00f6m\u00fcl\u00fcrd\u00fc. Koyu ye\u015fil bir pardes\u00fcs\u00fc, \u00e7ok dar kenarl\u0131, kafas\u0131n\u0131n biraz \u00fcst\u00fcnde kalan kahverengi bir \u015fapkas\u0131 vard\u0131. Sinema d\u00f6n\u00fc\u015f\u00fc dalg\u0131n<\/b>, Beyo\u011flu\u2019nun gece yar\u0131s\u0131 kalabal\u0131\u011f\u0131na dalar, \u00e7eker giderdi.\u201d7<\/a><\/p>\n \u201c\u2026 Kimseyle k\u0131yaslanamaz, kimseye benzemezdi. Yerli yabanc\u0131 hi\u00e7bir etki sezilmezdi yaz\u0131lar\u0131nda.<\/b> Nerden geliyordu bu \u00fcst\u00fcnl\u00fck, bu bamba\u015fkal\u0131k? Ne ailesinde, ne yeti\u015fme \u015feklinde, ne k\u00fclt\u00fcr\u00fcnde, ne \u00e7al\u0131\u015fma tarz\u0131nda bunu a\u00e7\u0131klayacak bir ipucu bulamazd\u0131k.<\/p>\n Saman k\u00e2\u011f\u0131d\u0131ndan defterlerin sar\u0131 yapraklar\u0131na \u00e7\u0131rp\u0131\u015ft\u0131rd\u0131\u011f\u0131 hik\u00e2yelerinin \u00e7o\u011funda, bir daha okunmam\u0131\u015f olman\u0131n elle tutulur delilleri g\u00f6ze batard\u0131; ba\u015f\u0131yla sonu birbirini tutmayan c\u00fcmleler, yaz\u0131ld\u0131\u011f\u0131 san\u0131l\u0131rken dalg\u0131nl\u0131kla<\/b>atlanm\u0131\u015f kelimeler, virg\u00fcl yerine konmu\u015f noktalar (hele bu noktalar, baz\u0131 hik\u00e2yelerinin c\u00fcmlelerinde l\u00fczumsuz kesilmelere sebep olurdu). O y\u00fczden hik\u00e2yelerinin \u00e7o\u011funda bir tak\u0131m aksakl\u0131klar kalm\u0131\u015ft\u0131r. Bunlar\u0131, hatta kitaba al\u0131rken bile d\u00fczeltmek zahmetine katlanmazd\u0131.\u201d8<\/a><\/p>\n \u2026<\/p>\n \u201cBaz\u0131 ak\u015fam \u00fcstleri, oturur<\/p>\n Hik\u00e2yeler yazard\u0131m,<\/p>\n Deli gibi!<\/p>\n Ben hik\u00e2ye yazarken<\/p>\n Kafamdaki insanlar<\/b><\/p>\n Bal\u0131\u011fa \u00e7\u0131karlard\u0131<\/b>\u2026\u201d9<\/a><\/p>\n \u2026<\/p>\n Senelerce \u00f6nce \u201c\u00dcz\u00fclme, senden sonra kalbime girenlerin \/ Yaln\u0131z senin aksindir orda g\u00f6recekleri<\/b>\u201d dizeleriyle beni mest eden Ya\u015far Nabi<\/b>\u2019yi, annesinden dinledi\u011fi \u201cAnadolu Masallar\u0131\u201dn\u0131n babas\u0131 ve \u201cZeynep\u2019in dedesi\u201d olarak hep yan\u0131 ba\u015f\u0131mda duran, \u201cB\u00fcy\u00fck Sarho\u015fluk\u201dla kalbime s\u0131zan, yazd\u0131klar\u0131yla ruhuma incelik ve derinlik katan Tahsin Y\u00fccel<\/b>\u2019i ve \u201cEdebi eserler insan\u0131 yeni ve mesut, ba\u015fka iyi ve g\u00fczel bir d\u00fcnyaya getirmeye, kurmaya yard\u0131m etmiyorlarsa neye yarard\u0131.\u201d diyen Sait Faik<\/b>\u2019i sayg\u0131yla ve rahmetle an\u0131yorum. Bir yaz\u0131da da olsa \u00fc\u00e7 zirve \u015fahsiyeti bir araya getirmenin s\u0131ra da\u011flarca huzuru ve mutlulu\u011fu i\u00e7indeyim. Tahsin Y\u00fccel\u2019in Sait i\u00e7in yan yana getirdi\u011fi, bana bu iki insan\u0131n \u00f6te \u00e2lemde sar\u0131ld\u0131\u011f\u0131n\u0131 hayal ettiren d\u00f6rt kelimeyle s\u00f6yleyeceklerime noktay\u0131 koyuyorum: \u201cK\u00f6k\u00fc kendisinde olan yazar.<\/b>\u201d10<\/a><\/p>\n 1<\/a> Kitaptaki iktibas ve sayfa numaralar\u0131 i\u00e7in bkz. (G\u00f6r\u00fcnmez Adam \u201cTahsin Y\u00fccel Kitab\u0131\u201d, S\u00f6yle\u015fi: Kaan \u00d6zkan, T\u00fcrkiye \u0130\u015f Bankas\u0131 Yay\u0131nlar\u0131 K\u00fclt\u00fcr Yay\u0131nlar\u0131, \u0130stanbul 2001, 357 s.)<\/p>\n 2<\/a> Okuma yazma bilmeyen bir idam mahk\u00fbmunun, idam edilmeden \u00f6nce son arzusu soruldu\u011funda, tek ki\u015filik h\u00fccreye ge\u00e7tikten sonra kimseye okutamad\u0131\u011f\u0131 ve g\u00f6\u011fs\u00fcn\u00fcn \u00fcst\u00fcnde biriktirdi\u011fi annesinden gelen mektuplardan birinin okunmas\u0131n\u0131 istemesi \u00fczerine kurgulanan\u00a0“Mektuplar”<\/b> \u00f6yk\u00fcs\u00fc,\u00a0burada zikredilmeyi hak edecek kadar i\u00e7 yak\u0131c\u0131d\u0131r. (Bilgi i\u00e7in bkz. Tahsin Y\u00fccel, \u201cMektuplar\u201d, Kom\u015fular, Can Sanat Yay\u0131nlar\u0131, \u0130stanbul 2024, s. 37-59.)<\/p>\n 3<\/a> Ya\u015far Nabi, \u201cSait \u0130\u00e7in Notlar\u201d, Varl\u0131k, A\u011fustos 1954.<\/p>\n 4<\/a> Hakk\u0131 S\u00fcha Gezgin, \u201cSait Faik\u201d, Vakit, 15 May\u0131s 1954.<\/p>\n 5<\/a> Hakk\u0131 S\u00fcha Gezgin, \u201cSait Faik\u201d, Edeb\u00ee Portreler, Tima\u015f Yay\u0131nlar\u0131, \u0130stanbul 1999, s. 263.<\/p>\n 6<\/a> Ya\u015far Kemal, \u201cSait Faik\u2019le G\u00f6r\u00fc\u015fme\u201d, Cumhuriyet, Mart 1953.<\/p>\n 7<\/a> Sabahattin Kudret Aksal, \u201cSait Faik\u2019in Ard\u0131ndan\u201d, Denemeler, Konu\u015fmalar, YKY, \u0130stanbul 1998, s. 137.<\/p>\n 8<\/a> Ya\u015far Nabi Nay\u0131r, \u201cB\u00fcy\u00fck Kayb\u0131m\u0131z\u201d, Varl\u0131k, Haziran 1954.<\/p>\n