Türkiye'de savaş pişiriyorlar. Kimin karnı doyacak daha anlamadım, fakat, pür telaş büyük ziyafet hazırlığı var.
Asker öldü. Utanmadan şaşırıp, üzülüyorlar. Ver eline silahı, sür ölümün önüne, sonra "Aaa, öldü?"
Ölüm varmış!
Kabul etmiyorlar fakat: "Şehitler ölmez!"
Ver eline silahı, sür ölümün önüne, ölsün... hala 1'den 1'i çıkarınca geriye 1 kaldığını kanıtlamaya çalış:
- "Şehitler ölmez!"
- "Öldüm ben, pardon..."
- "Ölmedin!"
- "Nefes almıyorum ama..."
- "Ölmedin sen! Yaşıyorsun!"
- "O zaman komutanım, haftasonu çarşı izni yazar mısınız bir anamı, babamı göreyim?"
- "Yüregimde yaşıyorsun! Orada istedigin kadar gez dolaş oğlum!"
- "Emredersin komutanım!... Annemlere siz haber vereceksiniz o halde?"
- "Ulan kaç kere diyecegim! Ölmedin sen!"
- "Babamın kalbi var, alıştıra alıştıra söyleyin komutanım."
- "Babanın adı ne?"
- "Mehmet. Çekirdekçi Mehmet dediniz mi gösterirler."
- "Tamam! Için rahat olsun oglum!"
- "Komutanım?… Ne diyeceksiniz babama?"
- " Mehmet Bey! Oglunuz ölmedi!"
…
Asker ölür. Matadorlar ölür, akrobatlar ölür, mercan avcıları ölür... Tehlikeli meslegi olanlara öldüklerinde degil, hayatta kaldıklarında şaşırmak daha isabetli olur.
Şu var ki, meslek zorla seçilmez. Tutkusu olan seçer o meslegi. Onsekiz yaşında çocugu evinden alıp, eline tahta kılıç verip, arkasından el arabasıyla kovaladıktan üç ay sonra 'Aslanım Matador' diyerek arenaya salmazlar.
…
Türkiye'de savaş pişiriyorlar. Askerler ölüyor. Kızıyor, kabul etmiyorlar. 'Kana kan intikam!' 'Gidelim. Öldürelim!' 'Biz gitmeyelim, asker var o gitsin.' 'Aslanım asker. Herkesi yener!'
Yener alimallah. Gözü karadır askerin. Icabederse, gider görevini yapar… Hangimiz sevdigimiz işi yapıyoruz ki sonuçta…
Sıkıldık mı hayattan ne? Cumhuriyet kurulalıberi kaç kez madalyalandık? Ezildik mi biraz ne? Geçen hafta Türkiye Yunanistan'dan dört gol yedi. Futbolcular maça şehitlere saygı duruşuyla başladı, ertesi gün vatan haini ilan edileceklerdi.
Halbuki ne var. Maç bu! Yenersin de, yenilirsin de. Oyun…
Fakat, olmazki be! Tam da topyekün savaşa girmeye niyetlendigimiz şu sırada gidipte Yunan'a yenilir mi? Nerede Kurtuluş Savaşı ruhu! Böyle mi kurduk biz bu Cumhuriyeti!
- "Siz kimsiniz?"
- "Sizden olmayan!"
- "Biz kimiz o halde?"
- "Siz vatan hainisiniz! Cunhuriyet düşmanlarısınız! Bayragına, ülkesine, ordusuna saygı duymayan dejenere, Batı uşaklarısınız! Tarih sizden utanıyor! Türkiye Cumhuriyeti sizden utanıyor!"
- "Top yuvarlaktır' dedim diye mi?"
- "Avatarına şanlı Türk bayragını koymaktan acizsin! O bayragı ne zorluklarla diktik hiç düşünmez, deger bilmezsiniz!"
- "Sanki siz ugraşıp diktiniz. Kadınları oturttunuz Singer makinaların başına..."
- "Sus! Küstah! Öyle dikmek mi diyorum ben! Surlara diktik! Yoktan bir ülke var ettik!"
- "Ha, anladım. Ulubatlı Hasan gibi diyorsunuz…"
- "Ulubatlı Hasanlar Ölmez!
…
(ikinci yabancı şahıs)- "Hişt! Bi dakka gelsene bu yana!"
- "Efendim? Ulubatlı Hasan'ın sülalesindenseniz bilesiniz ki, ona bir laf etmedim."
- "Ulubat'lı Hasan kim? Ulubat nere?"
- "Istanbul'un fethinde bayragı surlara ilk diken…"
- "Biz 'Nasyonalist sembollere' karşıyız. Bayrakla ilgilenmiyoruz."
- "Korsan mısınız?"
- "Yok. Istanbulluyuz. Bize katıl sen de.
- "Istanbul Türkiye'de degil mi? Benim bildigim Edirne'ye kadar aynı barajlardan ve bayraktan istifade etmekteyiz?"
- "Kullanmıyoruz biz bayrak, mayrak! Sildik!"
- "Iyi de, bilincimin içi dışı, gözümün retina tabakasından dişimin kovuğuna kadar kadar ay yıldızlı bayrakla dolmuşum, nasıl silecegiz öyle çabucak?"
- "Kes. At!"
- "Siz Saw I'i seyrettiniz mi? Simdi IV'de çıkmış, hepsinden kanlıymış diyorlar…"
- "Git o halde! Sen de kanlı bayraga tapanlardansın! Barbar! Savaş yanlısı! Insanlık düşmanı! Medeniyet cahili! Lümpen!
- "…Türk demeyi unuttunuz…"
Babaannem bu gibi durumlarda "Sıçtı Cafer bez getir' buyururdu.
Hey gidi…
Bugün Cumhuriyet Bayramı. Kutlu olsun.
Ekim 30, 2007
311
• A poem always runs the risk of being meaningless, and would be nothing without the risk of being meaningless.
• …everything that is exterior in relation to the book, everything that is negative as concerns the book, is produced within the book… for Jabes, the book is not in the world, but the world is in the book.
"The world exists because the book exists."
"The book is the work of the book." "The book multiplies the book."(p.33)
"To be is to-be-in-the-book."
• …The book can only be threatened by nothing, non-being, nonmeaning.
"Poetry is the desert of the promise.
Kafka: "We are nihilist thoughts in the brain of God."
"God is in perpetual revolt agains God" (Livre des questions, p.177).
"God is an interrogation of God" (p.152).
"… But I am not this man
for this man writes
and the writer is no one."
I, Serafi, the absent one, I was born to write books.
(I am absent because I am the storyteller.
Only the story is real.)
•…Absence of the writer (p.98)
For to write is to draw back. Not to retire into one's tent, in order to write, but to draw back from one's writing itself. To be grounded far from one's language, to emancipate it or lose one's hold on it, to let it make its way alone and unarmed. To leave speech. To let it speak alone, which it can do only in its written form… For the work, the writer is at once everything and nothing. Like God…
Derrida / Edmond Jabes & The Question of the Book
• …everything that is exterior in relation to the book, everything that is negative as concerns the book, is produced within the book… for Jabes, the book is not in the world, but the world is in the book.
"The world exists because the book exists."
"The book is the work of the book." "The book multiplies the book."(p.33)
"To be is to-be-in-the-book."
• …The book can only be threatened by nothing, non-being, nonmeaning.
"Poetry is the desert of the promise.
Kafka: "We are nihilist thoughts in the brain of God."
"God is in perpetual revolt agains God" (Livre des questions, p.177).
"God is an interrogation of God" (p.152).
"… But I am not this man
for this man writes
and the writer is no one."
I, Serafi, the absent one, I was born to write books.
(I am absent because I am the storyteller.
Only the story is real.)
•…Absence of the writer (p.98)
For to write is to draw back. Not to retire into one's tent, in order to write, but to draw back from one's writing itself. To be grounded far from one's language, to emancipate it or lose one's hold on it, to let it make its way alone and unarmed. To leave speech. To let it speak alone, which it can do only in its written form… For the work, the writer is at once everything and nothing. Like God…
Derrida / Edmond Jabes & The Question of the Book
Ekim 25, 2007
310
...
"I don't know what she thought about it. She said Monday or Tuesday, whichever suited you best. Of course she feels suspicious, but she also feels curious, and she's bound to imagine, with that bourgeois religious upbringing of hers...for she's the one who had had a bourgeois religious upbringing, and she makes no attempt to shake off its influence –on the contrary, it's been growing more marked for years now, gloomier and more repressive; she wasn't like that when I first knew her, and that's why I can't bear her any longer and why I need you so badly, because you bring me freedom, as you well know; but on the other hand I must try not to hurt her more than I can help, because of the children, and because...oh, you know why, and if I love you so much it's because you understand it all so well, because you've told me these things yourself, because it all seems simple to you, and to me too when I'm with you, whereas with her...oh, she doesn't say anything; particularly now, but she doesn't have to say anything; with her, everything is complicated, ridiculously and appallingly complicated –do you understand what I mean?"
"I understand perfectly."
Michel Butor / A Change of Heart (:151)
"I don't know what she thought about it. She said Monday or Tuesday, whichever suited you best. Of course she feels suspicious, but she also feels curious, and she's bound to imagine, with that bourgeois religious upbringing of hers...for she's the one who had had a bourgeois religious upbringing, and she makes no attempt to shake off its influence –on the contrary, it's been growing more marked for years now, gloomier and more repressive; she wasn't like that when I first knew her, and that's why I can't bear her any longer and why I need you so badly, because you bring me freedom, as you well know; but on the other hand I must try not to hurt her more than I can help, because of the children, and because...oh, you know why, and if I love you so much it's because you understand it all so well, because you've told me these things yourself, because it all seems simple to you, and to me too when I'm with you, whereas with her...oh, she doesn't say anything; particularly now, but she doesn't have to say anything; with her, everything is complicated, ridiculously and appallingly complicated –do you understand what I mean?"
"I understand perfectly."
Michel Butor / A Change of Heart (:151)
Ekim 10, 2007
309
Fumblerules
- Avoid run-on sentences they are hard to read.
- Don't use no double negatives.
- Use the semicolon properly, always use it where it is appropriate; and never where it isn't.
- Reserve the apostrophe for it's proper use and omit it when its not needed.
- Do not put statements in the negative form.
- Verbs has to agree with their subjects.
- No sentence fragments.
- Proofread carefully to see if you any words out.
- Avoid commas, that are not necessary.
- If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing.
- A writer must not shift your point of view.
- Eschew dialect, irregardless.
- And don't start a sentence with a conjunction.
- Don't overuse exclamation marks!!!
- Place pronouns as close as possible, especially in long sentences, as of 10 or more words, to their antecedents.
- Hyphenate between sy-
- llables and avoid un-necessary hyphens.
- Write all adverbial forms correct.
- Don't use contractions in formal writing.
- Writing carefully, dangling participles must be avoided.
- It is incumbent on us to avoid archaisms.
- If any word is improper at the end of a sentence, a linking verb is.
- Steer clear of incorrect forms of verbs that have snuck in the language.
- Take the bull by the hand and avoid mixed metaphors.
- Avoid trendy locutions that sound flaky.
- Never, ever use repetitive redundancies.
- Everyone should be careful to use a singular pronoun with singular nouns in their writing.
- If I've told you once, I've told you a thousand times, resist hyperbole.
- Also, avoid awkward or affected alliteration.
- Don't string too many prepositional phrases together unless you are walking through the valley of the shadow of death.
- Always pick on the correct idiom.
- "Avoid overuse of 'quotation "marks."'"
- The adverb always follows the verb.
- Last but not least, avoid clichés like the plague; seek viable alternatives.
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