![\"\"](\"https:\/\/upas.evvel.org\/wp-content\/uploads\/2018\/11\/velibukowski.jpg\")
<\/h1>\nCengizhan Ko\u00e7yi\u011fit, 2018<\/strong><\/p>\n Bu \u00e7al\u0131\u015fmada; \u015fiir anlay\u0131\u015flar\u0131n\u0131 \u201cher \u015fey \u015fiirin konusu olabilir\u201d ya da \u201c\u015fiir her \u015feyden olu\u015fur\u201d \u015feklinde a\u00e7\u0131klayan Orhan Veli Kan\u0131k ve Charles Bukowski\u2019nin kurucusu olduklar\u0131 edeb\u00ee topluluklar -Garip Hareketi ve Meat Ku\u015fa\u011f\u0131- arac\u0131l\u0131\u011f\u0131yla\u00a0g\u00f6r\u00fc\u015flerini nas\u0131l yans\u0131tt\u0131klar\u0131 incelenmi\u015f, \u015fairlerin benzer ve farkl\u0131 y\u00f6nleri \u00fczerinde durulmu\u015ftur.<\/em><\/p>\n Bu benzerlikler ve farkl\u0131l\u0131klar ele al\u0131n\u0131rken \u015fairlerin ya\u015fad\u0131klar\u0131 \u00e7evre, d\u00f6nem ve d\u00e2hil olduklar\u0131 edeb\u00ee ak\u0131mlar gibi pek \u00e7ok etken \u00fczerinde durulmu\u015f, farkl\u0131 co\u011frafyalarda ya\u015fay\u0131p benzer duygular\u0131 payla\u015fan iki \u015fairin farkl\u0131l\u0131klar\u0131n\u0131n yan\u0131nda benzerliklerinin de oldu\u011fu g\u00f6r\u00fclm\u00fc\u015ft\u00fcr.<\/em><\/p>\n Anahtar Kelimeler:<\/strong> Orhan Veli Kan\u0131k, Charles Bukowski, Garip Hareketi, Meat Ku\u015fa\u011f\u0131<\/em><\/p>\n Bu \u00e7al\u0131\u015fmada ait olduklar\u0131 edebiyata dair yeni bir soluk kazand\u0131ran Orhan Veli Kan\u0131k (1914-1950) ve Henry Charles Bukowski (1920-1994) \u00fczerinde durulmu\u015ftur. Bu iki ismin se\u00e7ilmesinin nedenlerinden biri, \u015fiir g\u00f6r\u00fc\u015flerinin temelini olu\u015fturan: \u201cher \u015fey \u015fiirin konusu olabilir\u201d duru\u015fudur. Bir di\u011feri ise, her ikisinin de kendi edeb\u00ee toplulu\u011funu yaratmas\u0131d\u0131r: Orhan Veli Kan\u0131k (Garip Hareketi), Henry Charles Bukowski (Meat Ku\u015fa\u011f\u0131). Dolay\u0131s\u0131yla, kendi edeb\u00ee sahalar\u0131nda \u00f6nc\u00fc olmalar\u0131, benzer \u015fiir anlay\u0131\u015flar\u0131 ve ayn\u0131 d\u00f6nemde ya\u015famalar\u0131 bu iki sanat\u00e7\u0131y\u0131 incelememizin ba\u015fl\u0131ca nedeni olmu\u015ftur. Aradaki benzerlik ve farkl\u0131l\u0131klar\u0131n incelenmesi, iki \u015fairin ayn\u0131 d\u00f6nemdeki benzer ve farkl\u0131 reflekslerinin nedenlerini sorgulamaya g\u00f6t\u00fcrece\u011fi gibi, iki ayr\u0131 k\u00fclt\u00fcr\u00fcn edebiyat\u0131 hakk\u0131nda fikir vermesi bak\u0131m\u0131ndan \u00f6nemlidir.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/em><\/p>\n \u0130ki yazar kar\u015f\u0131la\u015ft\u0131r\u0131l\u0131rken, ya\u015fad\u0131klar\u0131 d\u00f6nem, bulunduklar\u0131 co\u011frafya da dikkate al\u0131nm\u0131\u015ft\u0131r. \u00d6rne\u011fin sava\u015f temas\u0131nda Bukowski Amerika ve \u00e7evresini i\u015flerken, Orhan Veli, T\u00fcrkiye ve \u00e7evresini i\u015flemi\u015ftir. Yani ya\u015fad\u0131klar\u0131 \u00fclkelerin sava\u015f zaman\u0131ndaki durumuna ve izlenen siyasete kay\u0131ts\u0131z kalmam\u0131\u015flard\u0131r. Ayr\u0131ca bu kar\u015f\u0131la\u015ft\u0131rma yaln\u0131zca \u015fairlerin benzer noktalar\u0131 \u00fczerine yap\u0131lmam\u0131\u015ft\u0131r. \u0130ki \u015fairde de g\u00f6ze \u00e7arpan farkl\u0131l\u0131klar ba\u015fl\u0131klar\u0131yla i\u015flenmi\u015ftir.<\/em><\/p>\n Kar\u015f\u0131la\u015ft\u0131rmaya giderken iki isim i\u00e7inde belirlenen temalar:\u00a0 G\u00fcndelik ya\u015fam ve s\u0131radan olan her \u015feyin \u015fiire girmesi, a\u015fk ve kad\u0131n, sava\u015f temas\u0131, M\u00fcstehcenlik ve argo sigara, puro ve i\u00e7ki, diyaloglar ve hik\u00e2ye, yerellik. Bu \u00e7al\u0131\u015fma, iki \u015fairin ya\u015fam \u00f6yk\u00fcleri ve edeb\u00ee ki\u015filiklerini i\u00e7eren \u201cGiri\u015f \u201dten sonra \u201cI.B\u00f6l\u00fcm: Orhan Veli ve Bukowski \u015eiirinin Benzerlikleri\u201d ile \u201cII. B\u00f6l\u00fcm: Orhan Veli ve Bukowski \u015eiirinin Farkl\u0131l\u0131klar\u0131\u201d ba\u015fl\u0131kl\u0131 iki ana b\u00f6l\u00fcm ve \u201cSonu\u00e7\u201d ile \u201cKaynak\u00e7a\u201ddan olu\u015fmu\u015ftur.<\/em><\/p>\n \u00c7al\u0131\u015fma konusunun belirlenmesinde ve \u00e7al\u0131\u015fman\u0131n haz\u0131rlanma s\u00fcrecinin her\u00a0a\u015famas\u0131nda bilgilerini, tecr\u00fcbelerini ve de\u011ferli zamanlar\u0131n\u0131 esirgemeyerek bana her f\u0131rsatta\u00a0yard\u0131mc\u0131 olan de\u011ferli hocam Say\u0131n Do\u00e7. Dr. Nihayet ARSLAN\u2019a\u00a0 ve \u00e7al\u0131\u015fma s\u00fcresince tezin i\u00e7eriksel ve bi\u00e7imsel konular\u0131 hakk\u0131nda yard\u0131m\u0131n\u0131 esirgemeyen Say\u0131n Eseng\u00fcl SA\u011eLAM\u2019a sonsuz te\u015fekk\u00fcr ederim.<\/em><\/p>\n 11 Eyl\u00fcl 1993\u2019te Bak\u0131rk\u00f6y\u2019de do\u011fdu. \u0130lk ve orta\u00f6\u011fretimini \u0130stanbul\u2019da tamamlad\u0131. \u00c7e\u015fitli dergilerde \u015fiirleri yay\u0131mland\u0131. Y\u0131ld\u0131z Teknik \u00dcniversitesi T\u00fcrk Dili ve Edebiyat\u0131 b\u00f6l\u00fcm\u00fcnden mezun oldu. Bitirme tezi olarak Orhan Veli ve Charles Bukowski \u015fiirinin benzerlik ve farkl\u0131l\u0131klar\u0131n\u0131 inceledi. \u015eu an Sanatro (Sanat R\u00f6portajlar\u0131) ad\u0131nda bir proje y\u00fcr\u00fctmekte. Bununla birlikte BMOT ( Beat Meat Okuma Toplulu\u011fu) kurucular\u0131ndan biri.<\/em><\/p>\n \u00a0<\/strong><\/p>\n 13 Nisan 1914\u2019te \u0130stanbul\u2019da do\u011fdu. Babas\u0131 \u0130zmir t\u00fcccarlar\u0131ndan Fehmi Bey’in o\u011flu m\u00fczisyen Veli Bey (\u0130zmir, 1881-1953) annesi de Beykoz’un ileri gelenlerinden t\u00fcccar Hac\u0131 Ahmet Bey’in k\u0131z\u0131 Fatma Nigar Han\u0131m’d\u0131 (\u0130stanbul, 1894-1962). Orhan Veli, Galatasaray Lisesi\u2019nde ba\u015flatt\u0131\u011f\u0131 \u00f6\u011frenimini Ankara\u2019da s\u00fcrd\u00fcrd\u00fc. Bir s\u00fcre \u0130stanbul \u00dcniversitesi Edebiyat Fak\u00fcltesi Felsefe B\u00f6l\u00fcm\u00fc\u2019ne devam etti(1932-36). Ankara PTT Genel M\u00fcd\u00fcrl\u00fc\u011f\u00fc\u2019nde memurluk yapt\u0131. Askerlik g\u00f6revini tamamlad\u0131ktan sonra MEB Terc\u00fcme B\u00fcrosu\u2019nda \u00e7al\u0131\u015fmaya ba\u015flad\u0131(1945). Daha sonra \u201ckurumda anti-demokratik bir hava esmeye ba\u015flad\u0131\u011f\u0131n\u0131\u201d s\u00f6yleyerek g\u00f6revinden istifa etti(1947). \u0130lk yaz\u0131lar\u0131n\u0131 lise y\u0131llar\u0131nda \u00e7\u0131kard\u0131\u011f\u0131 Sesimiz <\/em>adl\u0131 okul dergisinde, daha sonraki \u015fiir ve \u015fiir yaz\u0131lar\u0131 \u0130nsan, Ses, Gen\u00e7lik, K\u00fcll\u00fck, \u0130nk\u0131lap\u00e7\u0131 Gen\u00e7lik<\/em> dergilerinde yay\u0131mland\u0131. 1947 y\u0131l\u0131ndan itibaren \u00e7eviriye a\u011f\u0131rl\u0131k veren Orhan Veli, M. A. Aybar\u2019\u0131n \u00e7\u0131kard\u0131\u011f\u0131 H\u00fcr ve Zincirli H\u00fcrriyet <\/em>adl\u0131 gazetelerde ele\u015ftiriler, Ulus\u2019ta \u201cYolcu Notlar\u0131\u201d ba\u015fl\u0131kl\u0131 yaz\u0131lar yay\u0131mlad\u0131. 1941\u2019de liseden arkada\u015flar\u0131 Oktay Rifat ve Melih Cevdet Anday ile birlikte Garip adl\u0131 \u015fiir kitab\u0131n\u0131 \u00e7\u0131kararak T\u00fcrk \u015fiirinde yenile\u015fme hareketini ba\u015flatt\u0131. 1 Ocak 1949 tarihinden itibaren on be\u015f g\u00fcnde bir yay\u0131mlanan Yaprak <\/em>dergisini \u00e7\u0131karmaya ba\u015flad\u0131. 15 Haziran 1950\u2019ye kadar yay\u0131mlanan bu dergiyi parasal g\u00fc\u00e7l\u00fckler nedeniyle yay\u0131mlayamaz olunca Ankara\u2019dan ayr\u0131l\u0131p, \u0130stanbul\u2019a d\u00f6nd\u00fc. (Son Yaprak adl\u0131 \u00f6zel bir say\u0131 arkada\u015flar\u0131 taraf\u0131ndan yay\u0131mland\u0131.)<\/p>\n Orhan Veli, 1950’de Ankara’da bir kaza ge\u00e7irdi. Karanl\u0131k bir sokakta, belediyece a\u00e7t\u0131r\u0131lan, ama \u00e7evresine hi\u00e7bir i\u015faret ve lamba konulmayan bir \u00e7ukura d\u00fc\u015ft\u00fc. Ba\u015f\u0131 zedelendi. \u0130ki g\u00fcn sonra \u0130stanbul’a geldi. Bundan sonras\u0131n\u0131 Orhan Veli’nin karde\u015fi Adnan Veli Kan\u0131k \u015f\u00f6yle yazd\u0131: “… V\u00fccudundaki s\u0131z\u0131lardan \u015fik\u00e2yet ediyordu. 14 Kas\u0131m sal\u0131 g\u00fcn\u00fc bir arkada\u015f\u0131n\u0131n evinde \u00f6\u011fle yeme\u011fi yerken fenal\u0131k ge\u00e7irdi. Hastaneye kald\u0131r\u0131ld\u0131. Beyninde damar \u00e7atlamas\u0131 y\u00fcz\u00fcnden ba\u015flayan bayg\u0131nl\u0131\u011f\u0131n\u0131n nedeni ilkin hekimler taraf\u0131ndan anla\u015f\u0131lamad\u0131. Alkol zehirlenmesine kar\u015f\u0131 tedavi yap\u0131ld\u0131. Saat 20’de komaya girdi. B\u00fct\u00fcn gayretlere ra\u011fmen kurtar\u0131lamayarak Cerrahpa\u015fa Hastanesi’nde hayata g\u00f6zlerini yumdu.”<\/p>\n \u015eiir:<\/strong> Garip (1941), Vazge\u00e7emedi\u011fim (1945), Destan Gibi (1946), Yenisi (1947), Kar\u015f\u0131 (1949), B\u00fct\u00fcn \u015eiirleri (1951) Orhan Veli, kendisinin ve arkada\u015flar\u0131 Oktay Rifat ve Melih Cevdet\u2019in yeni \u015fiir anlay\u0131\u015f\u0131na g\u00f6re yazd\u0131klar\u0131 \u015fiirlerden bir kitap haz\u0131rlama d\u00fc\u015f\u00fcncesindedir ve 1941 y\u0131l\u0131n\u0131n May\u0131s ay\u0131nda bu d\u00fc\u015f\u00fcncesini ger\u00e7ekle\u015ftirir. Kitab\u0131n ad\u0131, arkada\u015f\u0131 Cahit Yama\u00e7\u2019\u0131n tavsiyesiyle “Garip” olur. Bu isim, \u015fiir anlay\u0131\u015flar\u0131 ve \u015fiirleri garipsenen bu \u00fc\u00e7l\u00fc i\u00e7in \u00e7ok uygun d\u00fc\u015fer. Kitapta Melih Cevdet\u2019in on alt\u0131, Oktay R\u0131fat\u2019\u0131n yirmi bir ve Orhan Veli\u2019nin yirmi d\u00f6rt \u015fiiriyle Orhan Veli ve Oktay R\u0131fat\u2019\u0131n ortakla\u015fa kaleme ald\u0131klar\u0131 iki \u015fiir yer almaktad\u0131r. \u00d6n s\u00f6z yerinde ise Orhan Veli\u2019nin \u015fiir hakk\u0131ndaki d\u00fc\u015f\u00fcncelerini a\u00e7\u0131klad\u0131\u011f\u0131 ve daha \u00f6nce farkl\u0131 yerlerde yay\u0131mlanm\u0131\u015f makalelerinden bir se\u00e7me yer almaktad\u0131r.[1]<\/a> Garip Hareketi\u2019nin 1941-1950 y\u0131llar\u0131 aras\u0131nda s\u0131n\u0131rland\u0131r\u0131lmas\u0131n\u0131n nedeni ise: \u00d6n S\u00f6z’\u00fcn 1941 y\u0131l\u0131nda yay\u0131mlanmas\u0131 ve Orhan Veli Kan\u0131k\u2019\u0131n 1950 y\u0131ll\u0131nda vefat etmesindendir. B\u00fcy\u00fck temsilcisini kaybeden edebiyat hareketi di\u011fer iki \u015fairin de (Oktay Rifat Horozcu ve Melih Cevdet Anday) ba\u015fka alanlara y\u00f6nelmesiyle etkinli\u011fini yitirmi\u015ftir. Ayr\u0131ca Garip Hareketi, Birinci Yeniciler olarak da an\u0131lmaktad\u0131r.<\/p>\n Garip \u00d6n S\u00f6z\u00fc’n\u00fcn neler \u00fczerinde durdu\u011funu \u015fu \u015fekilde s\u0131ralayabiliriz:<\/p>\n Bu maddeleri genel olarak a\u00e7\u0131klamak gerekirse:<\/p>\n 1. M\u0131srac\u0131 zihniyete, vezin ve kafiyeye kar\u015f\u0131 olma<\/em><\/p>\n Orhan Veli, Garip’in \u00d6n S\u00f6z’\u00fcnde:<\/p>\n \u201cBug\u00fcnk\u00fc insan \u00f6yle zan ve temenni ediyorum ki, vezinle kafiyenin kullan\u0131l\u0131\u015f\u0131nda kendini hayrete d\u00fc\u015f\u00fcren bir g\u00fc\u00e7l\u00fck yahut da b\u00fcy\u00fck heyecanlar temin eden bir g\u00fczellik bulmayacakt\u0131r. Nitekim bu rahats\u0131z edici hakikati g\u00f6rm\u00fc\u015f olanlar, vezinle kafiyeye \u201cahenk\u201d denilen yeni bir \u015fiir unsurunun ebeveyni nazar\u0131yla bakm\u0131\u015flar, bu yeni nimete d\u00f6rt elle sar\u0131lm\u0131\u015flar. Bir \u015fiirde e\u011fer takdir edilmesi laz\u0131m gelen bir ahenk varsa, onu temin eden \u015fey, ne vezin ne kafiye. O ahenk vezinle kafiyenin d\u0131\u015f\u0131nda da, vezinle kafiyeye ra\u011fmen mevcuttur.\u201d[3]<\/a><\/p>\n<\/blockquote>\n Yukar\u0131da g\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere Orhan Veli, \u015fiirde vezin ve kafiyeyle yap\u0131lan \u015feyin ahenk olarak adland\u0131r\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6ylemektedir. Fakat ahengin sa\u011flanmas\u0131 i\u00e7in yani \u015fiirin uyumlu olmas\u0131 i\u00e7in vezin ve kafiyeye ihtiya\u00e7 olmad\u0131\u011f\u0131n\u0131 dile getirmektedir. Orhan Veli vezin ve kafiyeyi baz\u0131lar\u0131n\u0131n \u015fiir dilinin has yap\u0131s\u0131 olarak g\u00f6rd\u00fc\u011f\u00fcn\u00fc s\u00f6yler. Hatta bu g\u00f6r\u00fc\u015f\u00fc dile getirenlerin baz\u0131 \u015fiirleri reddederken \u201ckonu\u015fma dilini benzemi\u015fler\u201d diyerek reddetti\u011fini s\u00f6yler. Oysa Garip hareketinin ilk yapmak istedi\u011fi \u015fey bu reddedilen konu\u015fma dilini kazanmakt\u0131r.<\/p>\n 2. Te\u015fbih ve istiare gibi b\u00fct\u00fcn s\u00f6z oyunlar\u0131na kar\u015f\u0131 olma<\/em><\/p>\n \u015eiirde m\u00fcmk\u00fcn olduk\u00e7a tabiili\u011fi savunan Garip\u00e7iler, tabiat\u0131 zek\u00e2 ile de\u011fi\u015ftirdi\u011fi i\u00e7in te\u015fbih ve istiareden uzak duruyorlard\u0131. Benzetme edat\u0131 olan \u201cgibi\u201dyi \u015fiirlerinde hi\u00e7 kullanm\u0131yorlard\u0131.[4]<\/a><\/p>\n L\u00e2f\u0131z ve m\u00e2na sanatlar\u0131 \u00e7ok kere zek\u00e2n\u0131n tabiat \u00fczerindeki de\u011fi\u015ftirici, tahrip edici hassalar\u0131ndan istifade eder. Bilgisini, terbiyesini ge\u00e7mi\u015f as\u0131rlara bor\u00e7lu olan insan i\u00e7in bundan daha tabi\u00ee bir \u015fey yoktur. Te\u015fbih, e\u015fyay\u0131, oldu\u011fundan ba\u015fka t\u00fcrl\u00fc g\u00f6rmek zorudur. Bunu yapan insan acayip kar\u015f\u0131lanmaz, kendine hi\u00e7 bir gayri tabiilik isnat edilmez. H\u00e2lbuki te\u015fbihle istiareden ka\u00e7an, g\u00f6rd\u00fc\u011f\u00fcn\u00fc herkesin kulland\u0131\u011f\u0131 kelimelerle anlatan adam\u0131 bug\u00fcn\u00fcn m\u00fcnevveri\u00a0garip<\/em>\u00a0tel\u00e2kki etmektedir.[5]<\/a><\/p>\n<\/blockquote>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere Orhan Veli \u015fiirde te\u015fbihin ve istiarenin okuyucuya \u00e7ok fazla bir ufuk a\u00e7amayaca\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmektedir. S\u00f6ylenmek istenen \u015feyin olabildi\u011fince do\u011fal bir \u015fekilde s\u00f6ylenmesinden yanad\u0131r. Yazar\u0131n di\u011fer insanlar neyi nas\u0131l g\u00f6r\u00fcp anlat\u0131yorlarsa onlar\u0131n da anlatmak istediklerini herkesin kulland\u0131\u011f\u0131 kelimelerle anlatmas\u0131n\u0131 s\u00f6yler.<\/p>\n 3. \u015eiir i\u00e7in ayr\u0131, \u00f6zel bir \u015fiir dilini reddetme<\/em><\/p>\n Bu maddeyle ilgili Onur Akba\u015f:<\/p>\n \u201cBilindi\u011fi gibi Ahmet Ha\u015fim\u2019e g\u00f6re \u015fiir duygulanmak i\u00e7in yaz\u0131lmal\u0131yd\u0131 ve \u015fiirin kendine has bir lisan\u0131 olmal\u0131yd\u0131. Pek \u00e7ok y\u00f6n\u00fcyle Ha\u015fim\u2019in \u015fiir g\u00f6r\u00fc\u015f\u00fcn\u00fcn kar\u015f\u0131s\u0131nda olan Garip\u00e7iler, Ahmet Ha\u015fim\u2019in bu g\u00f6r\u00fc\u015f\u00fcne de tam ters bir g\u00f6r\u00fc\u015f \u00fczerindeydiler. Basitlik ve safl\u0131\u011f\u0131n \u00f6nemini savunan garip\u00e7ilere g\u00f6re ‘\u015fiirin hususi bir lisan\u0131 yok’tu. \u015eiir g\u00fcnl\u00fck konu\u015fma dili basitli\u011finde olmal\u0131yd\u0131.\u201d<\/p>\n<\/blockquote>\n Orhan Veli\u2019nin \u015fiiri s\u0131radanla\u015ft\u0131rd\u0131\u011f\u0131 bir madde gibi dursa da belki de Orhan Veli \u015fiirin t\u00fcm tabakalara yay\u0131lmas\u0131n\u0131 istiyordu. Her t\u00fcr duyguyu ya\u015famak isteyen \u015fiir yazmak i\u00e7in \u00f6zel bir dile ihtiyac\u0131 olmayan herkese seslenme \u00e7abas\u0131 olarak g\u00f6rebiliriz.<\/p>\n 4. \u015eiirde b\u00fct\u00fcn geleneklere kar\u015f\u0131 \u00e7\u0131kma<\/em><\/p>\n Bir tak\u0131m nazariyelerin s\u00f6ylediklerini bilinen kal\u0131plar i\u00e7ine s\u0131k\u0131\u015ft\u0131rmakta hi\u00e7bir yeni, hi\u00e7bir sanatk\u00e2rane hamle yoktur. Yap\u0131y\u0131 temelinden de\u011fi\u015ftirmelidir. Biz senelerden beri zevkimize, irademize h\u00fckmetmi\u015f, onlar\u0131 t\u00e2yin etmi\u015f, onlara \u015fekil vermi\u015f edebiyatlar\u0131n, o s\u0131k\u0131c\u0131, o bunalt\u0131c\u0131 tesirinden kurtarabilmek i\u00e7in, o edebiyatlar\u0131n bize \u00f6\u011fretmi\u015f oldu\u011fu her \u015feyi atmak mecburiyetindeyiz. M\u00fcmk\u00fcn olsa da “\u015fiir yazarken bu kelimelerle d\u00fc\u015f\u00fcnmek l\u00e2z\u0131md\u0131r” diye yarat\u0131c\u0131 faaliyetimizi tehdit eden lisan\u0131 bile atsak. Ancak bu suretledir ki, kendimizi al\u0131\u015fkanl\u0131klar\u0131n s\u00fcr\u00fckledi\u011fi gayri tabii inhiraftan kurtarm\u0131\u015f; safiyetimize, hakikatimize irca etmi\u015f oluruz.[6]<\/a><\/p>\n<\/blockquote>\n Orhan Veli, \u015fiirin i\u00e7inde bulundu\u011fu gelene\u011fin kal\u0131pla\u015fman\u0131n \u015fiire hi\u00e7bir ilerleme katmad\u0131\u011f\u0131 g\u00f6r\u00fc\u015f\u00fcndeydi. Bu durumun \u015fiiri yerinde sayd\u0131rd\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyordu. Edebiyat\u0131n \u00f6\u011fretti\u011fi her \u015feyi atmak zorunlulu\u011funda hissetmektedir Orhan Veli, gelenekten var olandan uzakla\u015fman\u0131n gereklili\u011fini s\u00f6yl\u00fcyordu. Ve tarihin bu tarz insanlar\u0131 be\u011fenerek and\u0131\u011f\u0131n\u0131 dile getiriyordu.<\/p>\n \u201cTarihin be\u011fenerek and\u0131\u011f\u0131 insanlar daima d\u00f6n\u00fcm noktalar\u0131nda bulunanlard\u0131r. Onlar bir an’aneyi y\u0131k\u0131p yeni bir an’ane kurarlar. Daha do\u011frusu kurduklar\u0131 \u015fey i\u00e7lerinden gelen yeni bir kay\u0131tlar sistemidir. Ancak ileriki nesillere intikal ettikten sonra an’ane olur.\u00a0\u201c[7]<\/a><\/p>\n<\/blockquote>\n 5. Tedah\u00fcle Kar\u015f\u0131 \u00e7\u0131kma<\/em><\/p>\n Ben, sanatlarda tedah\u00fcle taraftar de\u011filim. \u015eiiri \u015fiir, resmi resim, musikiyi musiki olarak kabul etmeli. Her san’at\u0131n kendine ait hususiyetleri, kendine ait ifade vas\u0131talar\u0131 var. Meram\u0131 bu vas\u0131talarla anlat\u0131p bu hususiyetlerin i\u00e7inde kapal\u0131 kalmak hem san’at\u0131n hakik\u00ee k\u0131ymetlerine h\u00fcrmetk\u00e2r olmak, hem de bir cehde, bir eme\u011fe yer vermek demek de\u011fil mi? G\u00fczel olan\u0131 temin edecek g\u00fc\u00e7l\u00fck herhalde bu olmal\u0131. \u015eiirde musiki, musikide resim, resimde edebiyat bu g\u00fc\u00e7l\u00fc\u011f\u00fc yenemeyen insanlar\u0131n ba\u015fvurduklar\u0131 birer hileden ba\u015fka bir \u015fey de\u011fil.[8]<\/a><\/p>\n<\/blockquote>\n Orhan Veli iki veya daha fazla sanat dal\u0131n\u0131n birbirine kar\u0131\u015ft\u0131r\u0131lmas\u0131n\u0131 istemiyordu.\u00a0 Ona g\u00f6re her sanat\u0131n kendine ait ifade \u015fekli ve \u00f6zellikleri vard\u0131. Bunlar birbirine kar\u0131\u015f\u0131nca ortadaki de\u011fer kayboluyordu. Bu g\u00f6r\u00fc\u015f ayr\u0131ca Ahmet Ha\u015fim\u2019in \u201c\u015eiirin lisan\u0131 s\u00f6z ile musiki aras\u0131nda s\u00f6zden ziyade musikiye yak\u0131n\u2026\u201d [9]<\/a> g\u00f6r\u00fc\u015f\u00fcne de tepkidir.<\/p>\n As\u0131l ad\u0131 Heinrich Karl Bukowski\u2019dir. 1920’de Almanya’da, Andernach’ta do\u011fdu. \u00dc\u00e7 ya\u015f\u0131nda Amerika\u2019ya geldi, Los Angeles’ta b\u00fcy\u00fcd\u00fc. Annesi Katharina Fett bir Almand\u0131 ve kad\u0131n terzisiydi, babas\u0131 ise Polonya k\u00f6kenli bir Amerikal\u0131yd\u0131, askerdi. \u0130kili Birinci D\u00fcnya Sava\u015f\u0131 sonunda tan\u0131\u015fm\u0131\u015ft\u0131. Bukowski 2-3 ya\u015flar\u0131ndayken ailesi Los Angeles\u2019a ta\u015f\u0131nd\u0131. Los Angeles Lisesi\u2019nden mezun olduktan sonra Los Angeles \u00dcniversitesi\u2019ne kaydolan Bukowski burada edebiyat, gazetecilik ve sanat dersleri ald\u0131, iki y\u0131l sonunda okulu b\u0131rakt\u0131. Yazar sadece babas\u0131na de\u011fil, t\u00fcm topluma ald\u0131\u011f\u0131 kar\u015f\u0131 tavr\u0131 bu d\u00f6nemlerde filizlendirmi\u015fti. \u00c7ok k\u00fc\u00e7\u00fck ya\u015fta alkolle tan\u0131\u015ft\u0131.<\/p>\n Yazmaya ba\u015flad\u0131\u011f\u0131 g\u00fcnden itibaren yaz\u0131lar\u0131n\u0131 yay\u0131mlanmas\u0131 i\u00e7in dergilere g\u00f6nderen Bukowski\u2019nin yaz\u0131lar\u0131 hep geri g\u00f6nderilmi\u015ftir.<\/p>\n Ancak 24 ya\u015f\u0131ndayken Aftermath of a Lenghty Rejection Slip<\/em> isimli k\u0131sa \u00f6yk\u00fcs\u00fc yay\u0131mland\u0131. \u0130ki y\u0131l sonra bir ba\u015fka k\u0131sa \u00f6yk\u00fcs\u00fc olan 20 Tanks From Kasseldown<\/em> isimli eseri yay\u0131mland\u0131. Bukowski yay\u0131nc\u0131l\u0131k y\u00f6ntemlerinden hayal k\u0131r\u0131kl\u0131\u011f\u0131na u\u011frad\u0131 ve neredeyse 10 y\u0131ll\u0131\u011f\u0131na yazmay\u0131 b\u0131rakt\u0131. Hayat\u0131n\u0131n bu b\u00f6l\u00fcm\u00fcn\u00fc ABD’yi gezerek, \u00e7e\u015fitli i\u015flerde genellikle k\u0131sa vadeli \u00e7al\u0131\u015farak ve ucuz pansiyonlarda konaklayarak ge\u00e7irdi. Hayat\u0131n\u0131n di\u011fer b\u00f6l\u00fcmlerinde oldu\u011fundan daha yo\u011fun bir tempo ile a\u00e7l\u0131k ile bo\u011fu\u015fan ve kad\u0131nlarla zaman ge\u00e7iren Bukowski daha sonra bu y\u0131llar\u0131n\u0131 Factotum<\/em> isimli kitab\u0131nda da anlatm\u0131\u015ft\u0131r. Bu d\u00f6nemdeki i\u015flerinin k\u0131sa vadeli olmas\u0131n\u0131n nedeni de d\u00fczen tan\u0131maz ki\u015fili\u011fi ve alkol ba\u011f\u0131ml\u0131l\u0131\u011f\u0131yd\u0131. Bukowski babas\u0131na olan nefretini onun aksine bir hayat ya\u015fayarak g\u00f6stermi\u015f ve bir yaz\u0131s\u0131nda da bu y\u00fczden bir hi\u00e7 olmay\u0131 se\u00e7ti\u011fini s\u00f6ylemi\u015ftir. O babas\u0131n\u0131n aksine oldu\u011fu gibi g\u00f6r\u00fcnen ve bir \u015fey olmamay\u0131 hedefleyen birisi olarak kazand\u0131\u011f\u0131 paraya \u00f6nem vermiyor ve barlarda g\u00fcn\u00fc birlik bir hayat s\u00fcr\u00fcyordu. Zengin Amerikal\u0131 kad\u0131nlarla ili\u015fkiye girdi\u011fi d\u00f6nemlerde onlara kaba dahi davransa etkiliyor onlar\u0131n evlerinde ya\u015famaya ba\u015fl\u0131yor ama bir t\u00fcrl\u00fc o hayata adapte olamayarak eski hayat\u0131na geri d\u00f6n\u00fcyordu ki 1969\u2019da da bunu, a\u00e7 kalmay\u0131 se\u00e7ti\u011fini s\u00f6yleyerek ispat etmi\u015f oluyor adeta. Ayr\u0131ca \u00f6mr\u00fcn\u00fcn \u00e7o\u011fu denilebilecek k\u0131sm\u0131n\u0131 da hipodromlarda ge\u00e7irmi\u015f ve bundan yaz\u0131lar\u0131nda s\u0131k s\u0131k s\u00f6z etmi\u015ftir. 1950’lerin ba\u015f\u0131nda Bukowski, iki y\u0131ldan az bir s\u00fcre ABD Posta \u0130daresi’nde posta kuryesi olarak \u00e7al\u0131\u015ft\u0131. 1955’te \u00f6l\u00fcm\u00fcn ucundan d\u00f6nd\u00fc\u011f\u00fc alkol komas\u0131ndan dolay\u0131 hastaneye kald\u0131r\u0131ld\u0131. Taburcu olduktan sonra bir daktilo sat\u0131n ald\u0131 ve \u015fiir yazmaya ba\u015flad\u0131. 1957’de Barbara Fry ile evlendi fakat 1959’da bo\u015fand\u0131lar. Bukowski, \u015fiir yazmaya ve i\u00e7ki i\u00e7meye devam etti ve sonra Los Angeles’taki postaneye geri d\u00f6nd\u00fc. 1965’te hi\u00e7 evlenmedi\u011fi Francis Smith’ten bir k\u0131z\u0131 oldu. 1969’da Black Sparrow Yay\u0131nevi’nden \u00f6m\u00fcr boyu 100 dolar maa\u015f teklifini al\u0131nca postaneden ayr\u0131ld\u0131. Bir mektubunda \u015f\u00f6yle bir a\u00e7\u0131klamas\u0131 vard\u0131; “\u0130ki se\u00e7enekten birini se\u00e7mek zorundayd\u0131m: Posta ofisinde kal\u0131p delirmek ya da yazmaya oynay\u0131p a\u00e7l\u0131ktan \u00f6lmek. Ben a\u00e7 kalmay\u0131 se\u00e7tim.” Posta ofisini b\u0131rakal\u0131 bir ay olmadan Postane ismindeki ilk roman\u0131n\u0131 bitirdi. 1976’da Bukowski, Linda King ile tan\u0131\u015ft\u0131. \u0130ki y\u0131l sonra birlikte Los Angeles’ta bir liman \u015fehri olan San Pedro’ya ta\u015f\u0131nd\u0131lar. Bukowski ve Beighle 1985’te evlendiler. Bukowski, Pulp roman\u0131n\u0131 hen\u00fcz bitirdikten sonra 9 Mart 1994’te 73 ya\u015f\u0131ndayken omurilikten yay\u0131lan l\u00f6semi sebebiyle San Pedro, Kaliforniya’da \u00f6ld\u00fc. Bu tip bir hayat ya\u015fad\u0131\u011f\u0131 i\u00e7in bir\u00e7ok kez tutuklanm\u0131\u015f, dayak yemi\u015f olan Bukowski hayat\u0131, \u00f6zg\u00fcn dili ve tarz\u0131 ile Amerikan edebiyat\u0131na damgas\u0131n\u0131 vurmu\u015f, T\u00fcrkiye’de ise ilk kez Sokak Dergisi\u2019nde \u00e7\u0131kan \u00f6yk\u00fcleri ile tan\u0131nm\u0131\u015ft\u0131r.<\/p>\n \u015eiirleri:<\/strong>\u00a0 Pansiyon Manzumeleri, Sarho\u015f \u00c7al Piyanoyu Vurmal\u0131 \u00c7alg\u0131 Gibi Parmaklar Biraz Kanamaya Ba\u015flayana Dek, Kapal\u0131 Bir Kap\u0131d\u0131r Cehennem, G\u00fcl\u00fcn G\u00f6lgesinde, Bir Tek Ben Miyim B\u00f6yle Ya\u015fayan, En \u0130yi Adamlar Yaln\u0131zken G\u00fc\u00e7l\u00fcd\u00fcr, Kaybedenin \u00d6nde Gideni, Kendimizde A\u00e7t\u0131\u011f\u0131m\u0131z Yaralar, Gece \u00c7\u0131lg\u0131n Ayak Sesleriyle Y\u0131rt\u0131ld\u0131, En K\u0131sa And\u0131r Mucize, Kimse Bilmez Ne \u00c7ekti\u011fimi, Suda Yan Ate\u015fte Bo\u011ful Bukowski bu ku\u015fa\u011f\u0131n kurucusu ve isim babas\u0131d\u0131r. Onun gibi yazan yazar ve \u015fairlere bu ismi vermi\u015ftir. \u015eenol Erdo\u011fan, Charles Bukowski ve Meat Ku\u015fa\u011f\u0131 kitab\u0131nda Meat \u015fairleri ve g\u00f6r\u00fc\u015fleri \u015f\u00f6yle yans\u0131t\u0131l\u0131r.<\/p>\n \u201cCan al\u0131c\u0131 konularda yazd\u0131klar\u0131 i\u00e7in bu ad\u0131 alan \u201cMeat\u201d \u015fairleri Charles Bukowski ve Douglas Blazek ile ba\u015flam\u0131\u015f ve teksir devrimi sayesinde pop\u00fclaritesi h\u0131zla artm\u0131\u015ft\u0131. Meat \u015fairleri i\u00e7in hi\u00e7bir \u015fey kutsal de\u011fildi. \u015eiir her \u015feyden olu\u015furdu. Erotizm, k\u00fcf\u00fcr, uyu\u015fturucu, \u0131rk, hapishane, hepsi ayn\u0131yd\u0131. Her \u015fey ama her \u015fey \u015fiir say\u0131l\u0131rd\u0131. Bukowski \u00f6nderli\u011findeki Meat \u015fairlerinin amac\u0131 \u015fiir dilini \u201cgev\u015fetmek\u201d idi.\u00a0 \u0130\u00e7erik bi\u00e7imden \u00f6nce geliyordu. Bizim bildi\u011fimiz anlamda uyak ve kafiye k\u00fc\u00e7\u00fcmseniyor, \u00f6nemsenmiyordu. Blazek ve benzerleri Bukowski ve Meat ekol\u00fcnden ayr\u0131ld\u0131, ama hala y\u00fczlercesi Bukowski\u2019yi taklit etmektedir. \u201c[10]<\/a><\/p>\n<\/blockquote>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi Bukowski ya\u015fad\u0131\u011f\u0131 hayat\u0131 yaz\u0131lar\u0131na \u015fiirlerine yans\u0131t\u0131yor. Bunun yan\u0131 s\u0131ra yazarlar i\u00e7in \u00f6nemli olan tecr\u00fcbe ve birikimi sa\u011flamas\u0131 Bukowski\u2019yi ayr\u0131cal\u0131kl\u0131 bir yere koyuyor. \u0130lk \u015fiirlerini otuz be\u015f ya\u015f\u0131nda yazmas\u0131, onun yazarl\u0131k ad\u0131na baz\u0131 \u015feyleri sa\u011flam bir temele yans\u0131tt\u0131\u011f\u0131n\u0131 g\u00f6sterir. Mustafa Ziylan Bukowski\u2019nin \u015fiiri hakk\u0131nda \u015funlar\u0131 s\u00f6yler:<\/p>\n \u201cBukowski’nin \u015fiiri k\u00f6t\u00fc olmaktan korkmayan bir \u015fiir; \u015fiirleri \u00e7o\u011funlukla sanki birden yaz\u0131l\u0131p da elden ge\u00e7irilmemi\u015f, do\u011fa\u00e7lama i\u015fler gibi; bence s\u0131kl\u0131kla da d\u00fcped\u00fcz k\u00f6t\u00fc. Kimileyin dizelerini rastlant\u0131sal bi\u00e7imde b\u00f6ld\u00fc\u011f\u00fcn\u00fc, b\u00fcy\u00fck harfleri, noktalama imlerini rastlant\u0131sal bi\u00e7imde kulland\u0131\u011f\u0131n\u0131 da d\u00fc\u015f\u00fcn\u00fcyorum. Bu \u00e7evirileri yaparken biraz da bu nedenlerle kimileyin denemek amac\u0131yla da olsa caz gelene\u011findekileri and\u0131ran do\u011fa\u00e7lama oturumlar yapt\u0131\u011f\u0131m oldu. K\u00f6t\u00fcden, k\u00f6t\u00fc \u015fiirden korkmad\u0131m. Rastlant\u0131lara gelince: Hi\u00e7bir zaman s\u0131rt \u00e7evirmedim onlara.\u201d<\/p>\n<\/blockquote>\n Mustafa Ziylan\u2019\u0131n a\u00e7\u0131klad\u0131\u011f\u0131 bu hususlar\u0131 Garip \u015fiirine sim\u00fcle etti\u011fimizde de arada b\u00fcy\u00fck farklar g\u00f6rmeyiz bu anlamda Garip ve Meat ku\u015fa\u011f\u0131n\u0131n asl\u0131nda ne kadar birbirine benzedi\u011fini g\u00f6r\u00fcyoruz.<\/p>\n Orhan Veli Garip \u00f6n s\u00f6z\u00fcnde de belirtti\u011fi poetik tavra uygun olarak \u015fiirine g\u00fcndelik ya\u015fam\u0131, s\u0131radan insan\u0131n hayat\u0131n\u0131, g\u00fcndelik dertler gibi bir\u00e7ok konuyu i\u015flemi\u015ftir. Orhan Veli\u2019nin \u015fiire getirdi\u011fi bu durumu divan edebiyat\u0131n\u0131n son y\u0131llar\u0131na benzetebiliriz divan \u015fairleri de geleneksel kal\u0131plar\u0131 olan divan \u015fiirine s\u0131radan, g\u00fcndelik ya\u015fam\u0131 \u015fiirlerine sokmu\u015flard\u0131r.<\/p>\n S\u0131radan olan her \u015feyi anlatan \u015fiirleri ise:\u00a0 Kitabe-i Seng-i Mezar I-II-III, \u0130nsanlar, Mont\u00f6r Sabri, Efk\u00e2rlan\u0131r\u0131m, Sicilyal\u0131 Bal\u0131k\u00e7\u0131.<\/p>\n S\u0131radan olan\u0131n \u015fiire girmesi, \u015fiire her \u015feyin konu edilmesi denilince \u015f\u00fcphesiz akla ilk gelen \u015fiir Kitabe-i Seng-i Mezar<\/em> \u015fiirleridir. Nas\u0131r adeta \u015fiirin rahats\u0131z edici bir unsuru olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. Fakat bu rahats\u0131z edicilik Orhan Veli\u2019nin y\u0131kmak istedi\u011fi kal\u0131plara kar\u015f\u0131 \u00e7\u0131kard\u0131\u011f\u0131 bir rahats\u0131z ediciliktir. \u00c7\u00fcnk\u00fc Orhan Veli bu durumu yad\u0131rgamaz ve yapmak istedi\u011fi de\u011fi\u015fimde s\u0131n\u0131rlar\u0131 ne kadar zorlayaca\u011f\u0131n\u0131 g\u00f6sterir. \u015eiirin incelmesine ge\u00e7meden \u00f6nce, \u015fiirin isminin de \u00fczerinde k\u0131saca durmak gerekir. “Mezar ta\u015f\u0131 yaz\u0131s\u0131” anlam\u0131na gelen kitabe-i seng-i mezar, asl\u0131nda Orhan Veli\u2019nin poetikas\u0131n\u0131n bir manifestosu olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar. \u015eiir hem ba\u015fl\u0131\u011f\u0131yla hem b\u00fct\u00fcn\u00fcyle bu i\u015flevi g\u00f6r\u00fcr. \u015eiire bakacak olursak:<\/p>\n Hi\u00e7bir \u015feyden \u00e7ekmedi d\u00fcnyada\/Nas\u0131rdan \u00e7ekti\u011fi kadar\/Hatta \u00e7irkin yarat\u0131ld\u0131\u011f\u0131ndan bile\/o kadar m\u00fcteessir de\u011fildi\/kunduras\u0131 vurmad\u0131\u011f\u0131 zamanlarda\/anmazd\u0131 ama Allah\u2019\u0131n ad\u0131n\u0131\/G\u00fcnahk\u00e2r da say\u0131lmazd\u0131\/Yaz\u0131k oldu S\u00fcleyman efendiye[11]<\/a><\/p>\n<\/blockquote>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc \u00fczere Orhan Veli \u015fiire nas\u0131rl\u0131 bir adam\u0131 alm\u0131\u015ft\u0131r. \u015eiirimizin ba\u015fkahraman\u0131 S\u00fcleyman Efendi\u2019dir. S\u00fcleyman Efendi toplumun alt tabakas\u0131ndan diyebilece\u011fimiz bir insan profili \u00e7izer. Bu \u015fiirler ilgili Vedi A\u015fkaro\u011flu \u015fu yorumu yapar:<\/p>\n \u201cKlasik trajedide\u00a0 \u201cde\u011fi\u015ftirilemez\u201d\u00a0 bir \u00e7evre ya da yazg\u0131 ve bu yazg\u0131n\u0131n kar\u015f\u0131s\u0131nda kendini \u201cg\u00fc\u00e7l\u00fc\u201d sanan bireyin ka\u00e7\u0131n\u0131lmaz d\u00fc\u015f\u00fc\u015f\u00fcnden kaynaklanan bir t\u00fcr deh\u015fet ve korku duygusu bulunur.\u00a0 Kendi kaderine raz\u0131 olmay\u0131 reddeden,\u00a0 kay\u0131ts\u0131zl\u0131k i\u00e7ine girmeden yel de\u011firmenlerine kar\u015f\u0131 hem kendisi hem de toplum ad\u0131na g\u00f6z\u00fc kapal\u0131 sava\u015fmaya giri\u015fen, Ancak g\u00f6r\u00fcn\u00fcrde dura\u011fan bir kozmos kar\u015f\u0131s\u0131nda k\u0131y\u0131ma u\u011frayan bir bireyin yenilgisidir trajedi. S\u00fcleyman Efendi,\u00a0 g\u00f6r\u00fcn\u00fcrde dura\u011fan bir evrenin k\u0131y\u0131ma u\u011fratt\u0131\u011f\u0131 insand\u0131r.\u00a0 Hayata kar\u015f\u0131 bir duru\u015f sergilemi\u015f olmas\u0131na ra\u011fmen art\u0131k sadece kay\u0131ts\u0131zl\u0131\u011fa d\u00fc\u015fm\u00fc\u015f birisidir. Zaten yapabilece\u011fi ba\u015fka bir \u015fey de yok gibidir.\u201d[12]<\/a><\/p>\n<\/blockquote>\n Kitabe-i Seng-i Mezar’\u0131<\/em> trajedik bir metin olarak inceler.\u00a0 Ve S\u00fcleyman Efendi\u2019nin yenilgiye u\u011frayan bir insan oldu\u011funu dillendirir.<\/p>\n Kitabe-i Seng-i Mezar II<\/em> de ise:<\/p>\n Mesele falan de\u011fildi\/ To be or not to be kendisi i\u00e7in\/bir ak\u015fam uyudu\/uyanmay\u0131verdi\/ald\u0131lar g\u00f6t\u00fcrd\u00fcler\/y\u0131kand\u0131 namaz\u0131 k\u0131l\u0131nd\u0131 g\u00f6m\u00fcld\u00fc\/duyarlarsa \u00f6ld\u00fc\u011f\u00fcn\u00fc alacakl\u0131lar\/haklar\u0131n\u0131 helal ederler elbet\/alaca\u011f\u0131na gelince\/alaca\u011f\u0131 yoktu zaten<\/p>\n<\/blockquote>\n \u015eiirin bu k\u0131sm\u0131nda isme S\u00fcleyman Efendi\u2019nin hayata veda etti\u011fini g\u00f6r\u00fcyoruz. Alacakl\u0131lar\u0131 oldu\u011funu ama alaca\u011f\u0131 olmad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcyoruz. \u00d6l\u00fcm\u00fc anlat\u0131lan bir adam\u0131n ilk \u00f6nce nas\u0131rdan neler \u00e7ekti\u011fi sonra maddi olarak al\u0131p verecekleri bununla paralel manevi \u00e7\u00f6k\u00fcnt\u00fcs\u00fcn\u00fc anlat\u0131l\u0131yor. Fakat \u00f6nceliklerin de\u011fi\u015fti\u011fini g\u00f6r\u00fcyoruz. S\u00fcleyman Efendi\u2019nin kar\u0131s\u0131 \u00e7ocu\u011fu \u00e7ocuklu\u011fu mutlulu\u011fu i\u015flenmeyip onun ya\u015fad\u0131\u011f\u0131 olumsuzluklar i\u015fleniyor. \u015eiir bu anlamda da bir ah vah ve a\u011f\u0131t gibidir.\u00a0 \u201cMesele falan de\u011fildi\/ To be or not to be kendisi i\u00e7in\u201d asl\u0131nda \u015fiirin ba\u015f\u0131ndaki bu c\u00fcmleler S\u00fcleyman Efendi i\u00e7in ya\u015fam\u0131n ya\u015famda bir yer edinmenin kendisi i\u00e7in \u00e7ok da \u00f6nemli \u015feyler olmad\u0131\u011f\u0131n\u0131n bize verildi\u011fi yerlerdir. Olmak ya da olmamak S\u00fcleyman Efendi i\u00e7in bir kayg\u0131 bir dert de\u011fildir. \u015eiirin bu iki m\u0131sras\u0131yla ilgili Vedi A\u015fkaro\u011flu \u015funlar\u0131 s\u00f6yler:<\/p>\n \u201cBurada art\u0131k y\u00fcce \u00fclk\u00fcler pe\u015finde ko\u015fan bir insan bulunmamaktad\u0131r. At\u0131fta bulunulan bir di\u011fer trajedi ise Shakspeare\u2019in Hamlet\u2019idir.\u00a0 Hamlet,\u00a0 ya\u015fad\u0131\u011f\u0131 olaylar\u0131n trajik niteli\u011fi kar\u015f\u0131s\u0131nda,\u00a0 evrendeki hem kendisinin hem de genel olarak t\u00fcm insanl\u0131\u011f\u0131n varolu\u015fsal durumunun elemli,\u00a0 ac\u0131 veren yan\u0131n\u0131 sorgulamaktad\u0131r.\u00a0 Hayat\u0131n anlam\u0131na dair sorular sormaktad\u0131r.\u00a0 \u00d6l\u00fcm\u00fcn kar\u015f\u0131s\u0131nda insan\u0131n sonlu hayat\u0131n\u0131n hi\u00e7li\u011finin \u00e7aresizli\u011finde y\u00fczmektedir.\u00a0 B\u00f6ylesine \u00fcst d\u00fczey hayat alg\u0131s\u0131n\u0131n kar\u015f\u0131s\u0131nda,\u00a0 trajik kahramanlara \u00f6zg\u00fc \u00e7at\u0131\u015fmalar, kadere kar\u015f\u0131 \u00e7\u0131k\u0131\u015flar, her insan\u0131 ilgilendiren \u00f6l\u00fcm\u00fcn kar\u015f\u0131s\u0131nda Tanr\u0131sal yazg\u0131ya ba\u015fkald\u0131r\u0131, art\u0131k modern insan\u0131n yapt\u0131\u011f\u0131, yapabildi\u011fi, yapmaya imk\u00e2n\u0131n\u0131n oldu\u011fu bir eylem de\u011fildir. S\u00fcleyman Efendi bu tasalardan uzak bir hayat s\u00fcren basit bir insand\u0131r.\u201d[13]<\/a><\/p>\n<\/blockquote>\n Ayr\u0131ca S\u00fcleyman isminin se\u00e7imi de bizi Kanuni Sultan S\u00fcleyman\u2019a g\u00f6t\u00fcr\u00fcr. Orhan Veli belki de \u015fiirde yapmak istedi\u011fi de\u011fi\u015fimi her anlamda bize yans\u0131tmak istemi\u015ftir. Onun i\u00e7in \u00dc\u00e7 k\u0131taya h\u00fckmetmi\u015f bir padi\u015fah\u0131n ad\u0131na, nas\u0131r\u0131yla dertleri olan\u0131 alacakl\u0131lar\u0131 olan ki\u015fiye S\u00fcleyman ad\u0131n\u0131 vermi\u015ftir.<\/p>\n Kitabe-i Seng-i Mezar<\/em>\u2019\u0131n son k\u0131sm\u0131 ise \u015f\u00f6yledir:<\/p>\n T\u00fcfe\u011fini depoya koydular\/Esvab\u0131n\u0131 ba\u015fkas\u0131na verdiler\/Art\u0131k ne tornas\u0131nda ekmek k\u0131r\u0131nt\u0131s\u0131\/ ne mataras\u0131nda dudaklar\u0131n\u0131n izi\/ \u00f6yle bir r\u00fczg\u00e2r ki\/kendi gitti\/ismi bile kalmad\u0131 yadig\u00e2r\/yaln\u0131z \u015fu beyit kald\u0131\/ \u201c\u00f6l\u00fcm Allah\u2019\u0131n emri, \u201cAyr\u0131l\u0131k olmasayd\u0131\u201d<\/p>\n<\/blockquote>\n \u015eiirin ilk par\u00e7as\u0131nda S\u00fcleyman Efendi\u2019nin ya\u015farkenki durumunu g\u00f6r\u00fcyoruz, nas\u0131r\u0131n\u0131, fiziksel \u00f6zelli\u011fini, ikinci k\u0131s\u0131mda d\u00fcnya ile ilgili g\u00f6r\u00fc\u015flerini ya\u015fama bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131 ve son k\u0131s\u0131mda ise art\u0131k d\u00fcnyadan g\u00f6\u00e7t\u00fc\u011f\u00fcn\u00fc ve ondan geri kalanlara neler oldu\u011funu g\u00f6r\u00fcyoruz.<\/p>\n \u201cOrhan Veli Kan\u0131k,\u00a0 ilk evrede yazm\u0131\u015f oldu\u011fu\u00a0 “Kitabe-i Seng-i Mezar\u201dlara bu evrede bir yenisini ekler Bu dizi \u015fiirin \u00fc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm\u00fcndeki fig\u00fcr,\u00a0 bir askerdir.\u00a0 \u015eair,\u00a0 onun silik ve tekd\u00fcze ge\u00e7mi\u015f olan hayat\u0131n\u0131,\u00a0 geride b\u0131rakt\u0131\u011f\u0131 nesnelerin simgesel arac\u0131l\u0131\u011f\u0131yla dile getirir:\u201d[14]<\/a><\/p>\n<\/blockquote>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi Kitabe-i Seng-i Mezar<\/em> \u015fiirleri Orhan Veli\u2019nin s\u0131radan\u0131 t\u00fcm y\u00f6nleriyle ele ald\u0131\u011f\u0131 bir \u015fiirdir. Ve bu durum \u015fiir g\u00f6r\u00fc\u015f\u00fcne uygun bir \u015fekilde aktar\u0131lm\u0131\u015ft\u0131r. Orhan Veli\u2019nin s\u0131radan ya\u015fam\u0131 i\u015fledi\u011fi di\u011fer \u015fiiri Mont\u00f6r Sabri\u2019dir.<\/p>\n Mont\u00f6r Sabri ile\/ daima geceleyin \/ ve daima sokakta\/ ve daima sarho\u015f konu\u015fuyoruz\/ o her seferinde \/ \u201ceve ge\u00e7 kald\u0131m \u201ddiyor\/ ve her seferinde\/ kolunda iki okka ekmek<\/p>\n<\/blockquote>\n \u015eiir, geceleyin birbirine rast gelen iki sarho\u015f insan\u0131n k\u0131sa bir diyalogundan olu\u015fuyor. Mont\u00f6r Sabri ki \u015fiirimizin ana karakteri, eve ge\u00e7 kald\u0131\u011f\u0131n\u0131 s\u00f6yl\u00fcyor. G\u00fcnl\u00fck ya\u015famda bir insan i\u00e7ki i\u00e7ip sarho\u015f oldu\u011funda nas\u0131l ki evini varsa e\u015fini ve \u00e7ocuklar\u0131n\u0131 d\u00fc\u015f\u00fcn\u00fcyorsa ve eve erken gitme i\u00e7g\u00fcd\u00fcs\u00fc ya\u015f\u0131yorsa Mont\u00f6r Sabri\u2019de bu durumu ya\u015f\u0131yor. Sabri\u2019ye rast gelen ki\u015fi ise muhtemel kuvvetle Orhan Veli\u2019nin kendisidir. Bu \u015fiiri Mehmet Sel takma ad\u0131yla yazm\u0131\u015ft\u0131r Orhan Veli. \u015eiiri takma adla yazmas\u0131 bu ki\u015finin ger\u00e7ekli\u011fini de artt\u0131rm\u0131\u015ft\u0131r. \u00c7\u00fcnk\u00fc \u015fair takma ad kullanman\u0131n rahatl\u0131\u011f\u0131yla kendini daha g\u00fcvenli hissederek davranm\u0131\u015ft\u0131r. Ayr\u0131ca \u015fiirde bahsedilen ki\u015finin bir tesisat\u00e7\u0131 olmas\u0131 da Orhan Veli\u2019nin \u015fiire her tip insan\u0131 ald\u0131\u011f\u0131n\u0131n ba\u015fka bir g\u00f6stergesidir. Melih Cevdet bu \u015fiir i\u00e7in \u015funlar\u0131 s\u00f6yl\u00fcyor:<\/p>\n “Orhan Veli, fakir fukara ile boyac\u0131larla, garsonlarla, i\u015f\u00e7ilerle ger\u00e7ekten dostluk ederdi. Harpten \u00f6nce bir g\u00fcn fakir bir i\u015f\u00e7i ile tan\u0131\u015fm\u0131\u015ft\u0131k: Mont\u00f6r Sabri. Sarho\u015ftu, koltu\u011funda iki okka ekmek vard\u0131. Boyuna evine ge\u00e7 kald\u0131\u011f\u0131ndan bahsediyor, ama bir t\u00fcrl\u00fc evinin yolunu tutam\u0131yordu. Ertesi g\u00fcn Orhan ‘Mont\u00f6r Sabri’ \u015fiirini yazd\u0131. Ge\u00e7en y\u0131l Orhan’\u0131 bir lokantada g\u00f6rd\u00fcm. Yan\u0131nda aya\u011f\u0131 kesik bir adam vard\u0131. Tatl\u0131 bir muhabbete dalm\u0131\u015flard\u0131. Orhan beni g\u00f6r\u00fcnce Mont\u00f6r Sabri’yi tan\u0131mad\u0131n m\u0131? Dedi.[15]<\/a><\/p>\n<\/blockquote>\n Orhan Veli g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi s\u0131radan konular\u0131 s\u0131radan insanlar\u0131 s\u0131radan dertleri \u015fiire konu etmi\u015ftir. Bunu yaparken se\u00e7ti\u011fi ki\u015fileri yaln\u0131zca yurti\u00e7inden de se\u00e7memi\u015ftir. \u00d6rne\u011fin, Sicilyal\u0131 Bal\u0131k\u00e7\u0131<\/em> \u015fiirinde bir bal\u0131k\u00e7\u0131dan bahseder ve o bal\u0131k\u00e7\u0131n\u0131n onu tan\u0131mad\u0131\u011f\u0131n\u0131 ondan haberi olmad\u0131\u011f\u0131n\u0131 \u015f\u00f6yle anlat\u0131r:<\/p>\n Bu d\u00fcnyadan Mehmet Ali Sel isminde bir \u015fairin\/gelip ge\u00e7ti\u011fini bilmeksizin<\/p>\n<\/blockquote>\n Orhan Veli\u2019de s\u0131radan insan yukar\u0131daki \u00f6rnekler gibi i\u015flenirken Charles Bukowski \u2019de durum bundan pek farks\u0131z de\u011fildir. Bukowski, t\u00fcm bu g\u00fcndelik ya\u015fam, s\u0131radanl\u0131\u011f\u0131n yan\u0131nda itilmi\u015f insanlar\u0131, serserileri, delileri de anlatm\u0131\u015ft\u0131r. Ayr\u0131ca Bukowski hem s\u0131radanl\u0131\u011f\u0131na hem delili\u011fe hem serserili\u011fe kendini katarak vermi\u015ftir. \u015eiirinde hep kendisinin ya\u015fad\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcr\u00fcz.<\/p>\n Bukowski\u2019nin s\u0131radanl\u0131\u011f\u0131 anlatan \u015fiirleri: trafik, duygu meselesi, karanl\u0131\u011fa girmek ve \u00e7\u0131kmak, tuhaf bir g\u00fcn sabahlar, arabam\u0131 y\u0131katt\u0131m, sat\u0131\u015f yok, hipodromun otopark g\u00f6revlisi dostum, ilerleme, kentsel sava\u015f, rahmetli olmu\u015f bir jokeyin an\u0131s\u0131na, santiogo\u2019lu \u00e7ocuk, olas\u0131l\u0131klar\u0131n par\u0131lt\u0131s\u0131.<\/p>\n Bu \u015fiirler aras\u0131nda \u00fczerinde duraca\u011f\u0131m\u0131z ilk \u015fiir o sabahlar<\/em> \u015fiiridir. \u015eiir bize Orhan Veli\u2019nin Kitabe-i Seng-i Mezar \u015fiirini an\u0131msat\u0131r. Fakat bu an\u0131msatma \u015fiire konu edindikleri \u015feydir. Yani Orhan Veli nas\u0131rlardan bahsederken Bukowski bu \u015fiirinde s\u0131\u00e7anlardan bahseder. \u0130kisi de s\u0131radan ve kaba olan \u015feyleri \u015fiirlerine konu edinmi\u015ftir.<\/p>\n \u2026New Orleans s\u0131\u00e7anlar\u0131n\u0131\/birka\u00e7 iri s\u0131\u00e7an mutlaka olurdu\u2026\/sonunda helan\u0131n kap\u0131s\u0131 a\u00e7\u0131l\u0131r kirac\u0131lardan biri d\u0131\u015far\u0131 \u00e7\u0131kard\u0131\/ve s\u0131\u00e7anlardan daha berbat g\u00f6r\u00fcn\u00fcrd\u00fc<\/p>\n<\/blockquote>\n Bir insan\u0131n s\u0131\u00e7andan daha berbat g\u00f6r\u00fcnmesi Bukowski\u2019nin okuyucusuna bunu sunmas\u0131 s\u0131n\u0131rlar\u0131 ne kadar zorlad\u0131\u011f\u0131n\u0131n bir g\u00f6stergesidir. \u00c7\u00fcnk\u00fc Bukowski olan\u0131 oldu\u011fu gibi anlatmay\u0131 tercih eder ve bunu yaparken sanatsal bir kayg\u0131 duymaz.\u00a0 Bukowski \u015fiirinde yine Orhan Veli gibi s\u0131radan insanlar\u0131 da anlat\u0131r. Olas\u0131l\u0131klar\u0131n par\u0131lt\u0131s\u0131<\/em> \u015fiirinde birka\u00e7 haftad\u0131r g\u00f6rmedi\u011fi bir otopark g\u00f6revlisinden bahseder.<\/p>\n Otopark g\u00f6revlisi Bobby komik\/\u00e7ocuktu, n\u00fcktedan, g\u00fcle\u00e7\/kendine \u00f6zg\u00fc, ba\u015fkalar\u0131n\u0131 g\u00fcld\u00fcrmekte ba\u015far\u0131l\u0131\/can\u0131m s\u0131kk\u0131n oldu\u011funda moralimi y\u00fckseltirdi\/\u00fc\u00e7 hafta g\u00f6rmedim onu, di\u011fer\/ g\u00f6revlilere sordum, kimi bilmiyordu\/kimi uyduruyordu<\/p>\n<\/blockquote>\n \u015eiirin ilerleyen k\u0131s\u0131mlar\u0131nda bu \u00e7ocuksu g\u00fcle\u00e7 adam\u0131n de\u011fi\u015fimini g\u00f6r\u00fcyoruz. Bir bak\u0131ma Orhan Veli\u2019deki S\u00fcleyman Efendi Bukowski’de kar\u015f\u0131m\u0131za Otopark g\u00f6revlisi Bobby olarak \u00e7\u0131k\u0131yor.<\/p>\n Yan\u0131na gittim, beni\/tan\u0131m\u0131\u015f gibi geldi bana\/\u201dburaya gelirken trafik anam\u0131 a\u011flatt\u0131, \u00fc\u00e7 saatte gelebildim! Dedi\/ g\u00fclm\u00fcyordu, kilo alm\u0131\u015ft\u0131\/birden kemerinin tokas\u0131\/ a\u00e7\u0131kt\u0131 ba\u011flad\u0131m\/tokas\u0131n\u0131 \u00fc\u00e7 g\u00fcnl\u00fck sakal vard\u0131 y\u00fcz\u00fcnde sa\u00e7lar\u0131\/k\u0131rla\u015fm\u0131\u015f y\u00fcz\u00fc k\u0131r\u0131\u015fm\u0131\u015ft\u0131\/yirmi y\u0131l yitirmi\u015fti \u00fc\u00e7 haftada<\/p>\n<\/blockquote>\n Bukowski\u2019nin s\u0131radan insan\u0131 anlatt\u0131\u011f\u0131 di\u011fer bir \u015fiiri ise Sat\u0131\u015f yok<\/em>\u2019tur. Burada a\u011fa\u00e7 satan Ed anlat\u0131l\u0131r. Bukowski olay\u0131n i\u00e7endedir ve hatta Ed\u2019e yard\u0131m eder. Ve bu yard\u0131m\u0131 kar\u015f\u0131l\u0131\u011f\u0131nda bir i\u00e7ki bile al\u0131r.<\/p>\n Noel\u2019e bir hafta vard\u0131\/koca Ed a\u011fa\u00e7 sat\u0131yordu d\u0131\u015farda\/Ed i\u00e7eri girdi\/bana bakt\u0131 Ed\/ \u201cHank, sen \u00e7\u0131k bak \u015fu a\u011fa\u00e7lara biraz al\u0131c\u0131 \u00e7\u0131karsa bana haber verirsin\u201d \/\u2026 A\u011fa\u00e7lar\u0131n yan\u0131na dikildim\/yirmi dakika ge\u00e7ti\/Koca Ed d\u0131\u015far\u0131 \u00e7\u0131kt\u0131\/\u201dilgilenen oldu mu?\u201d\/ \u201chay\u0131r Ed\u201d\/ \u201csen i\u00e7eri gir, Billy Boy\u2019a sana benden bir i\u00e7ki vermesini s\u00f6yle\u201d<\/p>\n<\/blockquote>\n Hipodromun otopark g\u00f6revlisi dostum<\/em> \u015fiirinde ise Bukowski, Frank ad\u0131nda bir otopark g\u00f6revlisinden ve aralar\u0131ndaki diyalogdan bahseder. Hipodroma giden ve d\u00f6n\u00fc\u015f i\u00e7in arabas\u0131n\u0131 getiren bir g\u00f6revli ile ge\u00e7en bir konu\u015fmad\u0131r bu \u015fiir.<\/p>\n \u2026arabam\u0131 gazlay\u0131p \u00f6n\u00fcme getirdi, sekiz y\u0131ll\u0131k\/motoru \u0131s\u0131tmak amac\u0131 ile gaza iyice\/y\u00fcklendikten sonra f\u0131rlad\u0131 arabadan:\/ \u201cnas\u0131ls\u0131n g\u00fczelim?\u201d\/\u201dhayat \u015fah damar\u0131ma basm\u0131\u015f b\u0131\u00e7a\u011f\u0131, Frank, beyaz bayra\u011f\u0131 \u00e7ekmek \u00fczereyim\u201d\/ \u201cyapmazs\u0131n sen \u00f6yle bir \u015fey, benim liderimsin!\u201d \/ \u201c\u00e7ok daha iyi bir lider bulabilirsin kendine Frank\u2026\u201d<\/p>\n<\/blockquote>\n G\u00f6r\u00fcld\u00fc\u011f\u00fc gibi iki isminde de g\u00fcnledik ya\u015fam, s\u0131radanl\u0131k \u015fiirin konusu olmu\u015ftur. Ve iki isim de bunu yaparken g\u00f6zlemci konumundad\u0131r.\u00a0 Ayr\u0131ca bu \u015fiirler poetikalar\u0131n\u0131n temelleri olan \u201c\u015eiire her \u015fey konu edinebilir\u201din ger\u00e7ek\u00e7i \u00f6rnekleri olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar.<\/p>\n Orhan Veli \u015fiirinde a\u015fk ve kad\u0131n\u0131 anlat\u0131rken \u015fiir anlay\u0131\u015f\u0131na ba\u011fl\u0131 olarak i\u015flemi\u015ftir. Bu durumla ilgili:<\/p>\n \u201cGerek evrensel gerekse yerel anlamda y\u00fczy\u0131llar boyunca \u015fiirin en s\u0131k i\u015flenmi\u015f temas\u0131 olan a\u015fk\u0131n,\u00a0 Garip\u00e7ilerin eserlerinde de yer almas\u0131 do\u011fal bir durumdur.\u00a0 Bununla birlikte,\u00a0 a\u015fk\u0131n bir be\u015fer\u00ee bir olgu olarak ele al\u0131n\u0131\u015f tarz\u0131 ile bu olguyu ya\u015fayan ve ya\u015fatan fig\u00fcrlerin tipolojik konumlar\u0131 ve davran\u0131\u015f bi\u00e7imleri ile Garip \u015fiirindeki yeri olduk\u00e7a farkl\u0131 \u00f6zellikler g\u00f6stermektedir.\u00a0 Garip\u00e7iler,\u00a0 a\u015fk gibi co\u015fkun bir duygusall\u0131\u011fa ve dolay\u0131s\u0131yla bireysel bir duyu\u015fa dayanan bir temay\u0131 dahi i\u015fleyi\u015fte poetikalar\u0131n\u0131n gerektirdi\u011fi s\u0131n\u0131rlar i\u00e7inde kalm\u0131\u015flar,\u00a0 onu nesnel ger\u00e7ekli\u011fin i\u00e7inde kabul etmi\u015fler ve toplum hayat\u0131n\u0131n bir par\u00e7as\u0131 olarak de\u011ferlendirmi\u015flerdir.\u201d[16]<\/a><\/p>\n<\/blockquote>\n Orhan Veli\u2019nin bu konuyu i\u015fleyen \u015fiirleri ise: Pazar ak\u015famlar\u0131, a\u015fk resmi ge\u00e7iti, s\u00f6z, eski kar\u0131m, dedikodu, sevdaya m\u0131 tutuldum? \u015fof\u00f6r\u00fcn kar\u0131s\u0131, quantitatif.<\/p>\n \u00dczerinde duraca\u011f\u0131m\u0131z ilk \u015fiir Sevdaya m\u0131 tutuldum<\/em>: \u015eiir a\u015f\u0131k olan birinin neler hissetti\u011fi \u00fczerine kuruludur. Burada ayr\u0131ca \u00fczerinde durmam\u0131z gereken k\u0131s\u0131m verilen tepkilerin a\u015f\u0131k olan herkes taraf\u0131ndan verilen s\u0131radan tepkiler olmas\u0131 ve \u015fiire salata gibi bir kelimenin al\u0131nmas\u0131 bu durum asl\u0131nda Orhan Veli\u2019nin \u015fiir anlay\u0131\u015f\u0131na ba\u011fl\u0131 kald\u0131\u011f\u0131n\u0131n da bir g\u00f6stergesidir. Bununla ilgili:<\/p>\n \u201cA\u015fk\u0131n tema edinildi\u011fi bu \u015fiirde\u00a0 “salata”\u00a0 gibi ayk\u0131r\u0131 g\u00f6r\u00fclebilecek bir s\u00f6zc\u00fc\u011f\u00fcn kullan\u0131lmas\u0131 dikkat \u00e7ekicidir.\u00a0 \u015eairin bu s\u00f6zc\u00fc\u011f\u00fc kullanmas\u0131,\u00a0 Garip poetikas\u0131yla da uyum i\u00e7inde oldu\u011funu g\u00f6sterir ve ayn\u0131 zamanda s\u00f6z konusu teman\u0131n i\u015flenegeli\u015findeki yerle\u015fik bak\u0131\u015f a\u00e7\u0131s\u0131na ve \u00fcsl\u00fbba bir tepkidir.\u00a0 Bir ba\u015fka deyi\u015fle,\u00a0 a\u015fk\u0131n, g\u00fcnl\u00fck dile ait s\u00f6zc\u00fcklerle de ve yal\u0131n duygularla da ifade edilebilece\u011fini g\u00f6steren paradoksal bir d\u00fc\u015f\u00fcncenin \u00fcr\u00fcn\u00fcd\u00fcr.\u201d[17]<\/a> der.<\/p>\n “Benim de mi d\u00fc\u015f\u00fcncelerim olacakt\u0131,\/\u00a0 Ben de mi b\u00f6yle uykusuz<\/p>\n Kalacakt\u0131m,\/\u00a0 Sessiz,\u00a0 sedas\u0131z m\u0131 olacakt\u0131m b\u00f6yle?\/\u00a0 \u00c7ok sevdi\u011fim<\/p>\n Salatay\u0131 bile\/Aramaz m\u0131 olacakt\u0131m?\/ Ben b\u00f6yle mi olacakt\u0131m?”<\/p>\n<\/blockquote>\n Pazar ak\u015famlar\u0131<\/em> \u015fiirinde ise Orhan Veli sevdi\u011fi bir kad\u0131na kavu\u015famad\u0131\u011f\u0131ndan bahseder. Bu kavu\u015famaman\u0131n nedeni ise i\u00e7inde bulundu\u011fu ekonomik durumdur. Fakat her \u015fey d\u00fczeldi\u011finde ise bu a\u015fk\u0131n son bulaca\u011f\u0131ndan bahseder.<\/p>\n “\u015eimdi k\u0131l\u0131ks\u0131z\u0131m, fakat! Bor\u00e7lar\u0131m\u0131 \u00f6dedikten sonra,\/\u0130htimal bir kat da yeni esvab\u0131m olacak\/\/Ve ihtimal sen\/Yine beni sevmeyeceksin.” “Bununla beraber pazar ak\u015famlar\u0131!\u00a0 Sizin mahalleden ge\u00e7erken,\/\u00a0 S\u00fcslenmi\u015f olarak,\/\u00a0 Zannediyor musun ki ben de sanal \u015eimdiki kadar k\u0131ymet verece\u011fim?”<\/p>\n<\/blockquote>\n Hakan Sazyek bu \u015fiirler ilgili, \u015fiirin toplumsal bir y\u00f6n\u00fcn\u00fcn oldu\u011funu, aradaki fark\u0131n ekonomik durum \u00e7\u00f6z\u00fclse bile kapanmayaca\u011f\u0131n\u0131 s\u00f6yler.<\/p>\n \u201cOrhan Veli Kan\u0131k\u2019\u0131n ilk \u015fiirlerinden\u00a0 “Pazar Ak\u015famlar\u0131\u201dnda sevgisine kar\u015f\u0131l\u0131k g\u00f6remeyen \u00e2\u015f\u0131k,\u00a0 bunu kendi yoksullu\u011funa ba\u011flar. Bununla birlikte,\u00a0 ekonomik sorunlar\u0131n\u0131 \u00e7\u00f6zd\u00fckten sonra da a\u015fk\u0131n\u0131n kar\u015f\u0131l\u0131ks\u0131z kalaca\u011f\u0131n\u0131 bilmektedir.\u00a0 \u00c7\u00fcnk\u00fc bu sonu\u00e7ta \u00f6nemli etkenin s\u0131n\u0131f farkl\u0131l\u0131\u011f\u0131 oldu\u011funun idrakindedir:\u201d[18]<\/a><\/p>\n<\/blockquote>\n Orhan Veli \u015fiirinde evrensel bir konu olan a\u015fk\u0131n standart bir bi\u00e7imde inceler. Ancak \u015eof\u00f6r\u00fcn kar\u0131s\u0131<\/em> \u015fiirinde bu standartl\u0131k erotizme do\u011fru gitmi\u015ftir. Hakan Sazyek bu durumu \u015f\u00f6yle a\u00e7\u0131klar:<\/p>\n \u201cOrhan Veli Kan\u0131k\u2019\u0131n,\u00a0 “\u015eof\u00f6r\u00fcn Kar\u0131s\u0131” adl\u0131 \u015fiirinde,\u00a0 a\u015fk\u0131, romantik duygulardan s\u0131y\u0131rarak erotizme dayal\u0131 bir g\u00f6n\u00fcl ili\u015fkisine d\u00f6n\u00fc\u015ft\u00fcrme e\u011filimindeki kad\u0131n fig\u00fcr evlidir.\u00a0 Bu \u00f6zelli\u011fiyle de ahlaki de\u011ferlere kar\u015f\u0131 \u00e7\u0131k\u0131\u015f\u0131n simgesi durumundad\u0131r. Ancak,\u00a0 “S\u00f6z \u201cde yerle\u015fik de\u011fer yarg\u0131lar\u0131n\u0131 sarsmay\u0131 ama\u00e7layan erke\u011fin cesur ve k\u00f6ktenci tutumu,\u00a0 yerini bu kez toplumun belirleyici s\u0131n\u0131rlar\u0131 i\u00e7inde kalmaya \u00e7abalayan bir ki\u015fili\u011fe b\u0131rak\u0131r. Tabi\u00ee, bunu, ahl\u00e2k\u0131 \u00f6nceleyen idealist bir tutumdan \u00e7ok,\u00a0 bencil kayg\u0131lardan kaynaklanan bir davran\u0131\u015f bi\u00e7imi olarak nitelendirmek daha do\u011fru olur.\u201d[19]<\/a><\/p>\n “\u015eof\u00f6r\u00fcn kar\u0131s\u0131,\u00a0 k\u0131yma bana;\/El etme \u00f6yle pencereden,\/\u00a0 Soyunup<\/p>\n D\u00f6k\u00fcn\u00fcp;\/Senin,\u00a0 eni\u015ftende g\u00f6z\u00fcn var\/Benimse gen\u00e7li\u011fim<\/p>\n Var; Mahpuslarda \u00e7\u00fcr\u00fcyemem;\/Ba\u015f\u0131m\u0131 bel\u00e2ya sokma benim K\u0131yma bana.”<\/p>\n<\/blockquote>\n Eski kar\u0131m<\/em> \u015fiirinde ise, eski kar\u0131s\u0131n\u0131 \u00f6zleyen bir adam olarak kar\u015f\u0131m\u0131za \u00e7\u0131kar Orhan Veli.<\/p>\n \u201cNedendir,\u00a0 biliyor musun;\/Her gece r\u00fcyama giri\u015fin,\/Her gece \u015feytana uyu\u015fum,\/Bembeyaz \u00e7ar\u015faflar\u0131n \u00fcst\u00fcnde;\/Nedendir,\u00a0 biliyor musun?\/Seni h\u00e2l\u00e2 seviyorum,\u00a0 eski kar\u0131m.\/\/Ama ne kad\u0131ns\u0131n,\u00a0 biliyor musun?\u201d<\/p>\n \u201cA\u015fk\u0131n,\u00a0 basit ve k\u0131sa s\u00fcreli bir g\u00f6n\u00fcl e\u011flencesine d\u00f6n\u00fc\u015fmesinin bu evredeki en belirgin \u00f6rne\u011fi,\u00a0 “Dedikodu \u201cdur. Orhan Veli Kan\u0131k, bu \u015fiirinde s\u00f6z konusu tarzdaki ili\u015fkiyi olduk\u00e7a \u00e7apk\u0131n anlat\u0131c\u0131 fig\u00fcre bir\u00e7ok kad\u0131nla birlikte ya\u015fat\u0131r.\u00a0 \u0130stanbul’un sosyal hayat\u0131n\u0131n zenginli\u011fini yans\u0131tan de\u011fi\u015fik mek\u00e2nlarda ya\u015fanan bu ili\u015fkiler,\u00a0 bilmezden gelmeye dayal\u0131 ironik bir anlat\u0131mla aktar\u0131l\u0131r:\u201d[20]<\/a><\/p>\n “Kim s\u00f6ylemi\u015f beni\/S\u00fcheyl\u00e2\u2019ya vurulmu\u015fum diye?\/\u00a0 Kim g\u00f6rm\u00fc\u015f,<\/p>\n Ama kim\/Eleni\u2019yi \u00f6pt\u00fc\u011f\u00fcm\u00fc,\/Y\u00fcksek kald\u0131r\u0131mlarda g\u00fcpeg\u00fcnd\u00fcz?\/<\/p>\n Mel\u00e2hat\u2019\u0131 alm\u0131\u015f\u0131m da sonra\/Alemdara gitmi\u015fim \u00f6yle mi?\/.\/Ya o<\/p>\n Muall\u00e2\u2019y\u0131 sandala at\u0131p, \/ Ruhumda hicranm’\u0131 s\u00f6yletme hik\u00e2yesi?”<\/p>\n<\/blockquote>\n Dedikodu<\/em> \u015fiiri Orhan Veli\u2019nin a\u015fk\u0131 anlatt\u0131\u011f\u0131 en e\u011flenceli \u015fiirlerinden biridir. Okuyucu \u015fiiri okurken y\u00fcce olan a\u015fka ironik bi\u00e7imde bakan bir \u015fairi g\u00f6r\u00fcnce a\u015fk duygusunun da \u00e7ok y\u00f6nl\u00fcl\u00fc\u011f\u00fcn\u00fc g\u00f6r\u00fcr.<\/p>\n Charles Bukowski \u2018de a\u015fk ve kad\u0131n konulu \u015fiirler ise:\u00a0 karanl\u0131\u011fa girmek ve \u00e7\u0131kmak, harikulade g\u00f6zl\u00fc adam, 21.y\u00fczy\u0131la do\u011fru ilerlerken, her dakika bir kahkaha, kaya par\u00e7as\u0131, arabam\u0131 y\u0131katt\u0131m, hatal\u0131, itiraf,\u00a0 Edward Sbragia, kafeste gezinti, bitik, hastal\u0131k, ilerleme, siyah-beyaz \u015fip\u015fak foto\u011fraf misali ac\u0131.<\/p>\n Bukowski \u015fiirinde a\u015fk ve kad\u0131n konusunda iki farkl\u0131 yol izlemi\u015ftir diyebiliriz. Bu yollar: 1-Kar\u0131s\u0131ndan bahsetti\u011fi \u015fiir 2-di\u011fer kad\u0131nlar \u015feklinde ay\u0131rabiliriz. Buradaki di\u011fer kad\u0131nlar kar\u015f\u0131la\u015ft\u0131\u011f\u0131 herhangi bir kad\u0131n olarak kar\u015f\u0131m\u0131za \u00e7\u0131kmaktad\u0131r.<\/p>\n Garip hareketi ilk \u00fcr\u00fcnlerinin verdikten iki y\u0131l sonra 1939 y\u0131l\u0131nda Almanlar Polonya\u2019y\u0131 i\u015fgale ba\u015flad\u0131lar. Bu olay 1945\u2019e kadar s\u00fcrecek olan \u0130kinci D\u00fcnya Sava\u015f\u0131’n\u0131n ba\u015flang\u0131c\u0131 say\u0131lmaktad\u0131r. Bu sava\u015f t\u00fcm d\u00fcnyay\u0131 etkiledi\u011fi gibi T\u00fcrkiye\u2019yi de etkiler ve siyasi, sosyal, k\u00fclt\u00fcrel anlamda sars\u0131nt\u0131lar ya\u015fat\u0131r. Orhan Veli ve di\u011fer Garip\u00e7iler (Oktay Rifat Horozcu ve Melih Cevdet Anday) bu durumu ele\u015ftirirler. Orhan Veli sava\u015f kar\u015f\u0131t\u0131 bir tutum izler. Fakat bu tutumu dillendirirken net bir politik ifadeye yer vermez bunu ironi ve kara mizah diyebilece\u011fimiz t\u00fcrde yapar.<\/p>\n Sava\u015f\u0131 anlatan, ele\u015ftiren \u015fiirleri ise;\u00a0 Harbe Giden, Festival, C\u0131mb\u0131zl\u0131 \u015eiir, Karanfil, Tereya\u011f\u0131, Gangster, Bir Roman Kahraman\u0131.<\/p>\n
\n\u00d6zet<\/strong><\/h1>\n
\n\u00d6n S\u00f6z
\n<\/strong><\/h1>\n
\n<\/em><\/p>\n
\nCengizhan KO\u00c7Y\u0130\u011e\u0130T<\/h2>\n
\nG\u0130R\u0130\u015e<\/h1>\n
1. Orhan Veli Kan\u0131k\u2019\u0131n Hayat\u0131, Sanat\u0131 ve Eserleri<\/h1>\n
1.1. Hayat\u0131<\/h2>\n
1.2. Orhan Veli\u2019nin Eserleri<\/h2>\n
\nD\u00fczyaz\u0131:<\/strong> Nesir Yaz\u0131lar\u0131 (1953), Edebiyat D\u00fcnyam\u0131z (1975),Manzum Hik\u00e2ye: Nasrettin Hoca Hik\u00e2yeleri (1949)
\nDerleme:<\/strong> Frans\u0131z \u015eiir Antolojisi (1947)
\n\u00c7eviri:<\/strong> A.de Musset\u2019den \u201cBir kap\u0131 ya a\u00e7\u0131k durmal\u0131 ya kapal\u0131\u201d (Oktay Rifat ile 1943),Barberine(1944), Moli\u00e9re\u2019den \u201cScap\u2019in Dolaplar\u0131\u201d (1944), \u201cSicilyal\u0131 yahut Resimli Muhabbet\u201d (1944), Tartuffe (1944), Versailles Tuluat\u0131 (1944); Gogol\u2019dan \u00dc\u00e7 Hik\u00e2ye ( Erol G\u00fcney ile 1945); A.R. Lesage\u2019den \u201cTurcaret\u201d (1946), \u201cLa Fontaine\u2019in Masallar\u0131\u201d (1948); Shakespeare\u2019den\u00a0 \u201cHamlet ve Venedikli T\u00fcccar\u201d (\u015e.Erdeniz ile 1949), \u201cBat\u0131dan \u015eiirler\u201d (Oktay Rifat ve Melih Cevdet ile 1953); J.Anouilh\u2019den Antigone(1955); J.P. Sartre\u2019den El Kap\u0131s\u0131nda (1994)<\/p>\n1.3. Garip Hareketi ve Garip \u00d6n S\u00f6z\u00fc\u00a0 (1941-1954)<\/h2>\n
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2. Charles Bukowski Hayat\u0131, Sanat\u0131 ve Eserleri<\/strong><\/h1>\n
2.1. Hayat\u0131<\/h2>\n
2.2. Charles Bukowski\u2019nin Eserleri<\/h2>\n
\nHik\u00e2yeleri:<\/strong> Ekmek Aras\u0131, Factotum, Kasaban\u0131n En G\u00fczel K\u0131z\u0131, B\u00fcy\u00fck Zen D\u00fc\u011f\u00fcn\u00fc, Pis Moruk \u0130tiraf Ediyor – \u015earap Lekeli Defterden B\u00f6l\u00fcmler, S\u0131radan Delilik \u00d6yk\u00fcleri, \u00d6l\u00fcler B\u00f6yle Sever, G\u00fcne\u015fe Uzan G\u00fcne\u015f \u0130\u015fte Buraday\u0131m, S\u0131cak Su M\u00fczi\u011fi, Kaptan Yeme\u011fe \u00c7\u0131kt\u0131 ve Tayfalar Gemiyi Ele Ge\u00e7irdi, Kahraman\u0131n Yoklu\u011fu
\nRomanlar\u0131:<\/strong> Postane, Kad\u0131nlar, Pulp, Hollywood, Pis Moru\u011fun Notlar\u0131<\/p>\n2.3. Charles Bukowski ve Meat Ku\u015fa\u011f\u0131<\/h2>\n
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\nI. Orhan Veli ve Bukowski \u015eiirinin Benzerlikleri<\/strong><\/h1>\n
I.I G\u00fcndelik Ya\u015fam ve S\u0131radan Olan Her \u015eeyin \u015eiire Girmesi<\/h2>\n
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I.II A\u015fk ve Kad\u0131n<\/h2>\n
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I.III Sava\u015f Temas\u0131<\/h2>\n