Bir yanda her t\u00fcrl\u00fc zorlu\u011fa g\u00f6\u011f\u00fcs geren ve y\u00fcceltilen a\u015f\u0131klar, di\u011fer yanda sava\u015flar\u0131n yaratt\u0131\u011f\u0131 kay\u0131plar, bilhassa da \u015f\u00f6venizm ve militarizmin kad\u0131nlara ve e\u015fcinsellere vurdu\u011fu darbeler… Buraya kadar, gerek K\u0131br\u0131s gerekse de \u00e7at\u0131\u015fma ya\u015fam\u0131\u015f ba\u015fka co\u011frafyalarda ge\u00e7en romanlarda, hele ki karakterlerini sosyal s\u0131n\u0131f de\u011fil, kimlik temeli \u00fczerine kuran g\u00fcn\u00fcm\u00fcz postmodern edebiyat\u0131nda s\u0131kl\u0131kla ele al\u0131nan konular bunlar. Sayfalar aras\u0131na bir tutam baharat*<\/em> da katt\u0131\u011f\u0131n\u0131zda; \u00e7at\u0131\u015fan toplumlar\u0131n yemek k\u00fclt\u00fcr\u00fcn\u00fcn benzerliklerini ve sofran\u0131n birbirinden kopuk nesilleri birle\u015ftiricili\u011fini de ekledi\u011finizde, ortaya ikraml\u0131k bir eser \u00e7\u0131kmas\u0131 ka\u00e7\u0131n\u0131lmaz oluyor. Nitekim \u201cKay\u0131p A\u011fa\u00e7lar Adas\u0131\u201d, s\u0131radan bir bestseller okuyucusu i\u00e7in olduk\u00e7a lezzetli bir kitap. Ancak K\u0131br\u0131sl\u0131 T\u00fcrkler i\u00e7in hazm\u0131 pek de kolay de\u011fil! (Sebebini az sonra kitaptan \u00f6rneklerle a\u00e7\u0131klayaca\u011f\u0131m.)<\/em><\/p>\n\n\n\n Kitab\u0131n en etkileyici k\u0131sm\u0131, anlat\u0131c\u0131lardan birinin, g\u00f6rm\u00fc\u015f ge\u00e7irmi\u015f bir incir a\u011fac\u0131 olmas\u0131. 70\u2019li y\u0131llar\u0131n ba\u015f\u0131nda, Lefko\u015fa\u2019daki bir meyhanede ne\u015feli sohbetlere, a\u015f\u0131klar\u0131n romantizm ya da kayg\u0131 dolu anlar\u0131na, homofobik sald\u0131r\u0131lara tan\u0131kl\u0131k eden incir a\u011fac\u0131, 2000\u2019lerin ba\u015f\u0131nda Kostas taraf\u0131ndan Londra\u2019ya g\u00f6t\u00fcr\u00fcl\u00fcyor ve ait olmad\u0131\u011f\u0131 bir iklimde yeniden hayat buluyor. Yazar, \u00e7at\u0131\u015fmalar\u0131n do\u011fa \u00fcst\u00fcndeki y\u0131k\u0131c\u0131l\u0131\u011f\u0131n\u0131, a\u011fa\u00e7lar\u0131n birbiriyle ve hayvanlarla olan ba\u011flar\u0131n\u0131, insanlarla duyguda\u015fl\u0131klar\u0131n\u0131 incir a\u011fac\u0131n\u0131n dilinden aktar\u0131yor. Ba\u015fta metaforik anlat\u0131mlarla okuyucuyu b\u00fcy\u00fcleyen bu b\u00f6l\u00fcmler, kitab\u0131n sonuna do\u011fru, fareler, kar\u0131ncalar, sivrisinekler filan da i\u015fin i\u00e7ine girince La Fontaine\u2019den hik\u00e2yeler gibi fabl\u0131ms\u0131 bir tada b\u00fcr\u00fcn\u00fcyor.<\/p>\n\n\n\n \u0130\u00e7inde bulundu\u011fumuz tarihsel ve toplumsal sistemde \u201cbestseller\u201d olmaya uygun g\u00f6r\u00fclen pek \u00e7ok roman gibi “Kay\u0131p A\u011fa\u00e7lar Adas\u0131” da, a\u015fk\u0131n kutsall\u0131\u011f\u0131, sava\u015flar\u0131n ac\u0131mas\u0131zl\u0131\u011f\u0131 gibi en genel ge\u00e7er do\u011frulara taraf olmakla yetiniyor; psikolojik travmalar\u0131 ve m\u00fczmin melankoliyi davetk\u00e2r ve gizemli k\u0131l\u0131yor; karakterlerini, ait olduklar\u0131 sosyal s\u0131n\u0131ftan ba\u011f\u0131ms\u0131z, kimlik ve k\u00fclt\u00fcr \u00fczerinden bi\u00e7imlendirmeyi yeterli say\u0131yor. Toplumsal cinsiyet ve e\u015fcinsellik konular\u0131, ekoloji ve kadim do\u011fa\/do\u011fu bilgeli\u011fi ile de sosland\u0131 m\u0131 elbette \u00e7ok sat\u0131yor ve bilhassa entelekt\u00fcel bat\u0131l\u0131larca be\u011feniliyor.<\/p>\n\n\n\n Ancak bizi d\u00fcnyaya anlatan kitap, K\u0131br\u0131sl\u0131 T\u00fcrkleri bamba\u015fka bir k\u00fclt\u00fcrde resmediyor. Zorla asimile edilmek istendi\u011fimiz ama y\u0131llard\u0131r direndi\u011fimiz k\u00fclt\u00fcrel kodlar, bilhassa dinsel gericilik, sanki 1974 \u00f6ncesinden beri hayat\u0131m\u0131z\u0131n do\u011fal bir par\u00e7as\u0131ym\u0131\u015f gibi g\u00f6steriliyor. Bununla da kalmay\u0131p ilkel bir kabile gibi ya\u015fayan, abart\u0131l\u0131 bat\u0131l inan\u00e7lara sahip, falc\u0131dan, b\u00fcy\u00fcc\u00fcden medet ummaktan ba\u015fka bir yol yordam bilmeyen, cinlere inanan, nazardan korunmak i\u00e7in yere t\u00fck\u00fcren adal\u0131lar\u0131z \u015eafak\u2019\u0131n g\u00f6z\u00fcnde!<\/p>\n\n\n\n K\u0131br\u0131sl\u0131 Meryem teyze, gen\u00e7 ye\u011feni Ada’ya \u015f\u00f6yle diyor 226’nc\u0131 sayfada: “K\u0131br\u0131s’ta annem her zaman derdi ki, yakla\u015fan bir toz f\u0131rt\u0131nas\u0131 g\u00f6rd\u00fcn m\u00fc hemen saklan, \u00e7\u00fcnk\u00fc cinlerin d\u00fc\u011f\u00fcn vaktidir.” Ve devam ediyor 227’nci sayfada: “Kuran’da da s\u00f6z edilir cinlerden. Bizim k\u00fclt\u00fcrm\u00fczde g\u00f6r\u00fcnmez yarat\u0131klar\u0131n varl\u0131\u011f\u0131na inan\u0131r\u0131z biz.” Bu gibi safsatalar\u0131 reddeden Ada’ya \u0131srar ediyor: “Ama bu s\u00f6z\u00fcn\u00fc etti\u011fim \u015fey kadim bilgelik. K\u00fclt\u00fcr\u00fcm\u00fcz\u00fcn bir par\u00e7as\u0131. DNA’nda var.” Bu durumda ithal din dersi kitaplar\u0131ndaki cinler i\u00e7in de ayn\u0131s\u0131n\u0131 s\u00f6yleyemez miyiz!? <\/p>\n\n\n\n 2000’lerin ba\u015f\u0131nda adan\u0131n kuzeyine gemiyle gelen Kostas, gemiden iner inmez g\u00f6z\u00fcne \u00e7arpan tezgahlarda tespih buluyor (s.231). Lefko\u015fa’daki Hotel Afrodit’in resepsiyonisti “geleneksel M\u00fcsl\u00fcman tarz\u0131nda ba\u015f\u00f6rt\u00fcs\u00fc” ile kendisini kar\u015f\u0131l\u0131yor. \u00c7ay\u0131n\u0131 yudumlamakta olan kocas\u0131n\u0131n arkas\u0131ndaki duvarda T\u00fcrk bayraklar\u0131 ve Arap\u00e7a dualar var (s. 232-233). Otel odas\u0131na evli olmayan \u00e7iftler al\u0131nm\u0131yor. B\u00fcy\u00fck Han’daki bir bulu\u015fma anlat\u0131l\u0131rken “\u00e7evre camilerden ak\u015fam ezan\u0131n\u0131n yank\u0131land\u0131\u011f\u0131” \u00f6zellikle vurgulan\u0131yor ve K\u0131br\u0131sl\u0131lar, (yeme-i\u00e7me k\u00fclt\u00fcr\u00fcne bunca \u00f6nem atfeden bu romanda) kahve, ada \u00e7ay\u0131 veya limonata de\u011fil birer bardak \u0131hlamur i\u00e7iyor (s.271).<\/p>\n\n\n\n \u00c7ay demi\u015fken, Meryem, K\u0131br\u0131s’tan \u0130ngiltere’ye yan\u0131nda ne g\u00f6t\u00fcr\u00fcyor dersiniz? Semaver ve \u00e7ay barda\u011f\u0131 tak\u0131m\u0131! \u00c7aya s\u00fct koymay\u0131p yan\u0131nda kesme \u015fekerle i\u00e7iyor. Yemek k\u00fclt\u00fcr\u00fcm\u00fcze g\u00f6re haz\u0131rlad\u0131\u011f\u0131 kahvalt\u0131da, tabii ki hellim ihmal edilmemi\u015f ama sar\u0131msakl\u0131 \u00e7\u0131lb\u0131r, biber k\u0131zartmas\u0131, domates dolmas\u0131 var. Ayr\u0131ca ye\u015fil zeytin (\u00e7ak\u0131sdez) golyandro yerine rezeneli haz\u0131rlan\u0131yor (s.88). Oysa t\u00fcm bunlar, geleneksel K\u0131br\u0131s mutfa\u011f\u0131na ait de\u011fil. \u015eayet ortaya konan iddia “Yemek bir k\u00fclt\u00fcr\u00fcn kalbidir. Atalar\u0131n\u0131n mutfa\u011f\u0131n\u0131 tan\u0131mayan, kendini tan\u0131m\u0131yor demektir (s.162)” \u015feklinde olmasayd\u0131, bu detaylar incir \u00e7ekirde\u011fini bile doldurmayabilirdi.<\/p>\n\n\n\n \u015eafak, kitap boyunca K\u0131br\u0131sl\u0131 T\u00fcrklerin g\u00fcndelik ya\u015fam bi\u00e7imini, kendine \u00f6zg\u00fc inan\u00e7lar\u0131n\u0131 ve k\u00fclt\u00fcrel kodlar\u0131n\u0131, sanki her zaman T\u00fcrk ve M\u00fcsl\u00fcman unsurlarla bezeli bir toplummu\u015f gibi resmediyor. Kitap 2020’leri anlatsa ve de\u011fi\u015fen bir k\u00fclt\u00fcre g\u00f6nderme yapsa b\u00f6yle bir ele\u015ftiriyi hak etmeyebilirdi. Ancak sorun \u015fu ki, bir yandan soyut bir “adal\u0131”l\u0131\u011f\u0131 romantize ederken di\u011fer yandan K\u0131br\u0131sl\u0131 T\u00fcrk kimli\u011fini ortadan kaybediyor.<\/p>\n\n\n\n \u00c7eviri bir kitap da olsa Ma\u011fusa’ya Magosa demekte beis g\u00f6rm\u00fcyor. A\u011fa\u00e7lar\u0131n bu denli \u00f6nemsendi\u011fi, Latince adlar\u0131n\u0131n dahi yaz\u0131ld\u0131\u011f\u0131 bir romanda, begonvilin yan\u0131nda bir de cemileyi duymay\u0131, okaliptusun yan\u0131nda bir de efgaliptoyu g\u00f6rmeyi bekleyen okurun kalbini fethedemiyor.<\/p>\n\n\n\n 2000’lerin ba\u015f\u0131da K\u0131br\u0131s’\u0131n kuzeyinde ge\u00e7en onlarca sayfada ne kap\u0131lar\u0131n a\u00e7\u0131lmas\u0131ndan ne de \u00e7\u00f6z\u00fcm ve bar\u0131\u015f mitinglerinden bahsediliyor. O y\u0131llarda yediden yetmi\u015fe herkesin g\u00fcndeminde olan, on binlerce insan\u0131n sokaklar\u0131 doldurdu\u011fu eylemler tek bir sat\u0131rda bile ge\u00e7miyor. Fakat Hollywood y\u0131ld\u0131zlar\u0131n\u0131n m\u00fclk sahibi oldu\u011fu Mara\u015f, balland\u0131ra balland\u0131ra anlat\u0131l\u0131yor. Zira Kay\u0131p A\u011fa\u00e7lar Adas\u0131, K\u0131br\u0131sl\u0131 T\u00fcrkler ger\u00e7ekli\u011fini, adan\u0131n akt\u00fcalitesine feda ediyor. <\/p>\n\n\n\n *Bir Tutam Baharat, y\u00f6netmenli\u011fi ve senaristli\u011fi Tassos Boulmetis<\/a>\u2019in yapt\u0131\u011f\u0131 T\u00fcrk-Yunan ortak yap\u0131m\u0131 filmdir. Ayn\u0131 mahallenin \u00e7ocu\u011fu olarak b\u00fcy\u00fcyen ama daha sonra yollar\u0131 ayr\u0131lan T\u00fcrk k\u0131z ile Rum erke\u011fin imkans\u0131z a\u015fk\u0131n\u0131, iki halk\u0131n ortak yemek k\u00fclt\u00fcr\u00fc ile birlikte i\u015flemektedir.<\/em><\/p>\n\n\n\n Elif \u015eafak\u2019\u0131n \u0130ngilizce olarak yazd\u0131\u011f\u0131 “Kay\u0131p A\u011fa\u00e7lar Adas\u0131”, K\u0131br\u0131s\u2019\u0131n yak\u0131n tarihine ili\u015fkin bir a\u015fk roman\u0131. Bu \u201ca\u015fk\u201d s\u00f6zc\u00fc\u011f\u00fcn\u00fcn i\u00e7eri\u011fini, kad\u0131n-erkek veya iki erkek aras\u0131ndaki cinsel<\/p>\n","protected":false},"author":16,"featured_media":10231,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_newsletter_tier_id":0,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[40,67,64,44,38,9,42,1,39],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/baraka.cc\/wp-content\/uploads\/2024\/03\/kayip-agaclar-adasi-gorsel.jpg","jetpack_shortlink":"https:\/\/wp.me\/p4eHWX-2F0","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/10230"}],"collection":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10230"}],"version-history":[{"count":1,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/10230\/revisions"}],"predecessor-version":[{"id":10232,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/posts\/10230\/revisions\/10232"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=\/wp\/v2\/media\/10231"}],"wp:attachment":[{"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10230"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10230"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/baraka.cc\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10230"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/baraka.cc\/wp-content\/uploads\/2024\/03\/kayip-agaclar-adasi-gorsel-709x1024.jpg\")
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