{"id":20158,"date":"2024-08-10T13:57:33","date_gmt":"2024-08-10T09:57:33","guid":{"rendered":"https:\/\/kultur.az\/?p=20158"},"modified":"2024-08-10T13:57:33","modified_gmt":"2024-08-10T09:57:33","slug":"anar-mu%c9%99llimin-yeni-hekay%c9%99si-haqqinda-dusunc%c9%99l%c9%99r-asif-hacili-yazir","status":"publish","type":"post","link":"https:\/\/kultur.az\/?p=20158","title":{"rendered":"Anar m\u00fc\u0259llimin yeni hekay\u0259si haqq\u0131nda d\u00fc\u015f\u00fcnc\u0259l\u0259r – Asif Hac\u0131l\u0131 yaz\u0131r"},"content":{"rendered":"

\"\"<\/a>D\u00f6vr\u00fcm\u00fcz\u00fcn b\u00f6y\u00fck yaz\u0131\u00e7\u0131s\u0131, \u0259dibi Anar m\u00fc\u0259llimin “Qatardan qalan adam” adl\u0131 hekay\u0259sini oxudum v\u0259 n\u0259srimizd\u0259 yeni say\u0131lacaq poetik \u00fcslubun \u015fahidi oldu\u011fumuzu anlad\u0131m. Bu \u0259s\u0259rd\u0259 durmadan c\u0259r\u0259yan ed\u0259n k\u0259skin hadis\u0259-s\u00fcjet m\u00fcst\u0259visi kifay\u0259t q\u0259d\u0259r lakonik v\u0259 dinamik, b\u0259dii intriqa diqq\u0259ti\u00e7\u0259k\u0259n olsa da m\u0259tni yaradan h\u0259lledici amil ba\u015fqad\u0131r. Hadis\u0259l\u0259r, s\u00fcjet v\u0259 intriqa m\u0259tn\u0259 dinamika ver\u0259n \u00fcst qatd\u0131r.<\/strong><\/p>\n

Y\u0259ni \u0259s\u0259rin m\u0259nas\u0131, m\u0259tl\u0259bi t\u0259sad\u00fcf, q\u0259fil olay, g\u00f6zl\u0259nilm\u0259zlik kimi anlay\u0131\u015flardan ibar\u0259t deyil. S\u00fcjet v\u0259 fabula daha d\u0259rind\u0259ki f\u0259ls\u0259fi, sosial, psixoloji m\u0259zmunu v\u0259 m\u0259nalar\u0131 a\u015fkarlayan vasit\u0259l\u0259rdir. 60-70-ci ill\u0259rd\u0259 d\u0259 Anar\u0131n olduqca maraql\u0131 v\u0259 orijinal s\u00fcjetl\u0259ri \u0259s\u0259rd\u0259ki f\u0259ls\u0259fi-m\u0259n\u0259vi, sosial-psixoloji m\u0259zmunu b\u0259yan etm\u0259y\u0259 xidm\u0259t edirdi. Lakin h\u0259min d\u00f6vrd\u0259 Anar qaynar \u015f\u0259h\u0259r m\u00fchitind\u0259 v\u0259 “\u015f\u0259h\u0259r n\u0259srind\u0259” “\u00f6z\u00fc il\u0259 g\u00f6r\u00fc\u015f\u0259” macal tapmayan, “homo-sovetikusun” \u0259xlaq kodeksin\u0130 r\u0259dd ed\u0259n, “a\u011f liman” h\u0259sr\u0259tiyl\u0259 qovrulan, ancaq daxili azadl\u0131\u011f\u0131n\u0131, \u00f6zl\u00fcy\u00fcn\u00fc fa\u015f etm\u0259y\u0259 taq\u0259ti \u00e7atmayan, daxilind\u0259ki etnik-sosial yasaqlar\u0131 a\u015fa bilm\u0259y\u0259n v\u0259 mahiyy\u0259t etibaril\u0259 a\u015fmal\u0131 olmayan personajlar\u0131 v\u0259 lirik-realist psixologizmi g\u0259tirdi \u0259d\u0259biyyata v\u0259 bu kimi meyll\u0259r sosialist realizmini sars\u0131dan amill\u0259rd\u0259n oldu.<\/p>\n

Altm\u0131\u015f\u0131nc\u0131lar n\u0259sli – x\u00fcsus\u0259n, “\u015f\u0259h\u0259r” v\u0259 “k\u0259nd” n\u0259srinin n\u00fcmay\u0259nd\u0259l\u0259ri \u0259d\u0259biyyatda v\u0259 h\u0259yatda insan\u0131n \u00f6z\u00fc olmaq, mill\u0259tin etnik m\u0259nliyini saxlamaq h\u00fcququnu t\u0259sdiql\u0259di. Lakin bu h\u00fcququn t\u0259sbitini verm\u0259di v\u0259 ya b\u00fct\u00fcn sovet \u0259d\u0259bi m\u00fchiti miqyas\u0131nda faci\u0259vi, \u0259zabl\u0131, b\u0259z\u0259n, dey\u0259k ki, \u015euk\u015find\u0259 s\u0259rs\u0259m t\u0259zah\u00fcrl\u0259rini t\u0259qdim etdi. Zaman ke\u00e7di, d\u00f6vr d\u0259yi\u015fdi, lakin bir \u00e7ox \u015f\u00fcuralt\u0131 kompleksl\u0259r ke\u00e7mi\u015f sovet \u0259hlinin beynind\u0259n \u00e7\u0131xmad\u0131. “1939-da do\u011fulub, 1937-d\u0259 tutulanlar\u0131n” n\u0259sli kimi \u015f\u00fcurumuzun alt qat\u0131nda yen\u0259 d\u0259 \u0259d\u0259biyyat\u0131 \u00f6z yolu il\u0259 buraxmad\u0131q. \u00dcmumi \u0259d\u0259bi meyarlar, qanunlar axtard\u0131q v\u0259 erk\u0259n m\u0259rh\u0259l\u0259si 1950-ci ill\u0259rd\u0259n ba\u015flam\u0131\u015f postmodernizmi d\u0259 2000-cil\u0259rd\u0259 az qala n\u00f6vb\u0259ti sosialist realizmin\u0259 \u00e7evirdik. Magik realizmi b\u00fctl\u0259\u015fdirdik. Haz\u0131rda da \u00fcslub, daha do\u011frusu terminologiya axtar\u0131\u015flar\u0131 bitm\u0259yib. \u018fd\u0259biyyat\u015f\u00fcnasl\u0131q \u00fc\u00e7\u00fcn bu axtar\u0131\u015flar t\u0259bii idi v\u0259 sonda kompromis v\u0259 optimal variant olan “\u00e7oxmetodlu \u0259d\u0259biyyat” (\u0130sa H\u0259bibb\u0259yli) konsepsiyas\u0131nda q\u0259rarla\u015fd\u0131. Lakin yaz\u0131\u00e7\u0131, \u015fair, dramaturq n\u0259z\u0259riyy\u0259l\u0259r\u0259 uy\u011funla\u015faraq, izml\u0259ri d\u00fc\u015f\u00fcn\u0259r\u0259k yazmamal\u0131d\u0131r.<\/p>\n

Q\u0259lbinin s\u0259sini, h\u0259yat\u0131n \u00e7a\u011f\u0131r\u0131\u015flar\u0131n\u0131 dinl\u0259yib yazmal\u0131d\u0131r. Aliml\u0259r, t\u0259nqid\u00e7il\u0259r onun \u0259s\u0259rini \u00e7\u00f6z\u0259l\u0259yib “…lzmini” m\u00fc\u0259yy\u0259nl\u0259\u015fdir\u0259 bil\u0259r. O c\u00fcml\u0259d\u0259n bu hekay\u0259y\u0259 d\u0259 elmi m\u00fcnasib\u0259tl\u0259rin olaca\u011f\u0131na \u0259min\u0259m. Anar\u0131n d\u0259rc olunmu\u015f bu yeni hekay\u0259si, fikrimc\u0259, \u0259s\u0259rin \u00fcmumi m\u0259zmunu, poetik \u00f6z\u0259lliyi il\u0259 yana\u015f\u0131, h\u0259m d\u0259 \u0259d\u0259bi-estetik bax\u0131mdan – \u0259d\u0259bi yarad\u0131c\u0131l\u0131\u011f\u0131n m\u00f6vcud n\u0259z\u0259riyy\u0259l\u0259r\u0259, izml\u0259r\u0259 boylanmadan \u00f6z t\u0259bii, azad stixiyas\u0131 il\u0259 h\u0259r\u0259k\u0259t etm\u0259si h\u00fcququnu t\u0259sdiql\u0259m\u0259si il\u0259 \u0259h\u0259miyy\u0259tlidir. \u018fs\u0259rin “\u00fct\u00fcl\u00fc, r\u0259nd\u0259li” olmama\u011f\u0131 da bu s\u0259rb\u0259stliy\u0259 d\u0259lal\u0259t edir. V\u0259 hekay\u0259 m\u0259zmun v\u0259 poetika x\u00fcsusiyy\u0259tl\u0259ri il\u0259 yana\u015f\u0131, h\u0259m d\u0259 b\u0259dii m\u0259tninin m\u00f6vcud n\u0259z\u0259riyy\u0259l\u0259r\u0259 yatmay\u0131b, \u0259ksin\u0259 yeni n\u0259z\u0259riyy\u0259 yarada bil\u0259c\u0259k potensial\u0131 bax\u0131m\u0131ndan diqq\u0259t\u0259layiq v\u0259 d\u0259y\u0259rlidir. Hekay\u0259nin xronikal, s\u0259rt, y\u0131\u011fcam, b\u0259z\u0259n q\u0131r\u0131q, m\u0259qs\u0259dy\u00f6nl\u00fc \u015f\u0259kild\u0259 sxematikl\u0259\u015fdiril\u0259n, ancaq m\u0259naya, batin\u0259 y\u00f6n\u0259l\u0259n t\u0259svir \u00fcsulunun mahiyy\u0259ti \u0259d\u0259biyyat\u015f\u00fcnasl\u0131\u011f\u0131m\u0131zda \u00e7ox hallanan postmodernizm, mifopoetika, magik realizm kimi meyll\u0259r\u0259 deyil, azad m\u0259tn kimi \u00f6z\u00fcn\u0259, \u00f6z paradiqmatik v\u0259 sintaqmatik mahiyy\u0259tin\u0259 y\u00f6n\u0259lm\u0259sind\u0259dir.<\/p>\n

Geni\u015f biliy\u0259, d\u0259rin savada, b\u00f6y\u00fck istedada v\u0259 \u0259d\u0259bi \u00fcsluba malik g\u00f6rk\u0259mli yaz\u0131\u00e7\u0131 Anar Rzayev g\u0259nclik d\u00f6vr\u00fcnd\u0259n hans\u0131sa izm\u0259 uy\u011funla\u015fm\u0131r, tavtalogiya olmas\u0131n, onun b\u0259dii m\u0259tnl\u0259ri \u00f6z fenomenini t\u0259sdiql\u0259yir v\u0259 yeni izml\u0259r\u0259, \u0259d\u0259bi c\u0259r\u0259yanlara r\u0259vac verir. Bu hekay\u0259d\u0259ki yaz\u0131 \u00fcslubunu da m\u00fcqayis\u0259 t\u0259riqi il\u0259 m\u00fc\u0259yy\u0259n q\u0259d\u0259r s\u00fcrrealizml\u0259 tutu\u015fdura bil\u0259rik. B\u00fct\u00f6vl\u00fckd\u0259 is\u0259, bu hekay\u0259nin m\u0259nas\u0131 v\u0259 b\u0259diiyyat\u0131 ilk n\u00f6vb\u0259d\u0259 m\u00fc\u0259llifin \u0259d\u0259bi s\u0259ciyy\u0259si, onun d\u00fcnyaya f\u0259rdi poetik bax\u0131\u015f\u0131 v\u0259 \u00f6z\u00fcn\u00fcifad\u0259si il\u0259 m\u00fc\u0259yy\u0259nl\u0259\u015fir. R\u0259\u015fad M\u0259cidin t\u0259sdiql\u0259diyi kimi, Anar h\u0259qiq\u0259t\u0259n bu \u0259s\u0259rind\u0259 \u00f6z\u00fcn\u00fc yazd\u0131\u011f\u0131n\u0131 v\u0259 ba\u015f q\u0259hr\u0259man\u0131n\u0131n da \u00f6z\u00fc oldu\u011funu deyir. B\u0259dii m\u0259tn m\u00fc\u0259llifin daxili ya\u015fant\u0131s\u0131n\u0131 ifad\u0259 edir. Konflikt d\u0259 k\u0259d\u0259rli q\u0259hr\u0259man v\u0259 \u0259caib m\u00fchit aras\u0131ndad\u0131r, eyni zamanda h\u0259m d\u0259 m\u00fc\u0259llif-q\u0259hr\u0259man\u0131n daxilind\u0259dir.<\/p>\n

Ziyal\u0131 m\u00fc\u0259llif obraz\u0131 \u00f6z\u00fc il\u0259 m\u0259n\u0259vi-psixoloji konfliktd\u0259dir. Anar\u0131n bu m\u0259tnd\u0259ki b\u0259dbin ya\u015fant\u0131s\u0131 v\u0259 \u0259s\u0259rin k\u0259d\u0259rli pafosu is\u0259 emosional v\u0259\u00a0 aksioloji bax\u0131mdan, \u0259vv\u0259ll\u0259r izl\u0259n\u0259n t\u0259nqidi, maarif\u00e7i, satirik deyil, s\u0259rt, sars\u0131d\u0131c\u0131, amans\u0131z realizmin \u0259lam\u0259tidir. M\u0259hz buna g\u00f6r\u0259 d\u0259 m\u0259tn \u0259n\u0259n\u0259vi ifad\u0259liliy\u0259, s\u00f6z s\u0131\u011fal\u0131na yadd\u0131r. H\u00fckay\u0259nin m\u0259tn kompozisiyas\u0131 sivilizasiyan\u0131n bu a\u011f\u0131r d\u00f6vr\u00fcn\u0259 xas mozaik bi\u00e7imd\u0259, t\u0259hkiy\u0259 is\u0259 qlobal \u015f\u0259b\u0259k\u0259 t\u0259f\u0259kk\u00fcr\u00fcn\u0259 uy\u011fun fraqmentar formadad\u0131r. Bel\u0259likl\u0259, bu hekay\u0259d\u0259 \u0259n\u0259n\u0259vi b\u0259diiyyat\u0131 – ah\u0259ng\u0259 \u0259saslanan klassik estetikan\u0131 inkar ed\u0259n “s\u0259rt”, “a\u011fr\u0131l\u0131”, bir an\u0131n bel\u0259 h\u00f6km\u00fcnd\u0259n qorxuya salan sars\u0131d\u0131c\u0131 realizml\u0259 qar\u015f\u0131la\u015f\u0131r\u0131q. Burada postmodern\u0259 xas i\u015far\u0259vilik, f\u00f6vq\u0259lm\u0259tnlik, sitat\u00e7\u0131l\u0131q, irrasionall\u0131q, n\u00fcsx\u0259\u00e7ilik, m\u0259rasimilik, oyun prinsipi yoxdur. “Uzaq, ya\u015f\u0131l ada”, “be\u015fm\u0259rt\u0259b\u0259li evin alt\u0131nc\u0131 m\u0259rt\u0259b\u0259si”, “a\u011f liman” axtar\u0131\u015f\u0131nda olan saf v\u0259 sad\u0259l\u00f6vh, ancaq savadl\u0131 v\u0259 istedadl\u0131 \u0259d\u0259bi n\u0259slin lirik-psixoloji duyumu, divara dir\u0259n\u0259n romantik x\u0259yallar\u0131 da yoxdur. Ger\u00e7\u0259kliyin s\u0259rt v\u0259 amans\u0131z, boz \u00fcz\u00fc var. \u00d6z m\u0259kan\u0131nda, evind\u0259, \u015f\u0259h\u0259rind\u0259 d\u00fc\u015fd\u00fcy\u00fcn yad al\u0259min, \u00f6gey m\u00fchitin “dilini bilm\u0259zliyin” var.<\/p>\n

\u00dcnsiyy\u0259tin virtualla\u015fd\u0131\u011f\u0131 zamanda telefonun v\u0259 telefondak\u0131 real insanlar\u0131n i\u015far\u0259l\u0259ndiyi n\u00f6mr\u0259l\u0259rin \u0259l\u00e7atmazl\u0131\u011f\u0131 var! \u00dcnvan\u0131 b\u0259lli yegan\u0259 m\u0259kan, k\u00f6lg\u0259 kimi tap\u0131nd\u0131\u011f\u0131n evin is\u0259 bo\u015fdur, kims\u0259sizdir! Anar\u0131n f\u0259ls\u0259fi k\u0259d\u0259r\u0259 m\u00fcbt\u0259la olmu\u015f q\u0259hr\u0259man\u0131 \u0130shaq\u0131n daxili kimi. Bu bo\u015fluqda sanki h\u0259r \u015feyin oldu\u011fu halda, he\u00e7 n\u0259yin v\u0259 ilk n\u00f6vb\u0259d\u0259 \u00f6z ilkin arzular\u0131n\u0131n sahibi olmama\u011f\u0131n, \u00e7abalar\u0131n \u0259b\u0259sliyinin a\u011fr\u0131l\u0131, \u0259zabl\u0131 v\u0259 \u00f6ld\u00fcr\u00fcc\u00fc d\u0259rki var. Klassik m\u0259d\u0259niyy\u0259t, humanist ideallar, b\u0259\u015f\u0259ri kitablar m\u00fchitind\u0259 yeti\u015fmi\u015f, lakin mistik q\u0131sqancl\u0131q m\u0259r\u0259zind\u0259n x\u0259st\u0259lik tapm\u0131\u015f, geriy\u0259 yol qoymayan \u00e7\u0259rxi-f\u0259l\u0259yin d\u00f6vran\u0131nda yuvas\u0131ndan qopar\u0131lm\u0131\u015f, i\u00e7ini g\u00f6yn\u0259d\u0259n a\u011fr\u0131ya (m\u0259cazi siqaret yan\u011f\u0131s\u0131na) g\u00f6r\u0259 qatar\u0131ndan qalm\u0131\u015f, al\u0131\u015f-sat\u0131\u015f d\u00fcnyas\u0131nda insanl\u0131\u011f\u0131n\u0131 qoruyub saxlam\u0131\u015f, lakin g\u0259ldi-ged\u0259r d\u00fcnyada ail\u0259 d\u00f6z\u00fclm\u0259zliyi v\u0259 “va\u011fzal” yadl\u0131\u011f\u0131 burul\u011fan\u0131nda bo\u011fulmu\u015f, h\u0259qiqi sevgisini v\u00fcsal\u0259 \u00e7atmadan itirmi\u015f \u015f\u0259xsiyy\u0259tin v\u0259 \u0259slind\u0259 postsovet n\u0259slinin faci\u0259si var. Eyni zamanda h\u0259yat\u0131n faniliyi, g\u0259limli-gedimli d\u00fcnyada insan\u0131n “iki qap\u0131 aras\u0131nda” vurnuxaraq ya\u015fad\u0131\u011f\u0131 \u00f6mr\u00fcn bir il\u011f\u0131m olmas\u0131n\u0131n, ist\u0259k v\u0259 arzular\u0131n, axtar\u0131\u015f v\u0259 \u00e7abalar\u0131n yan\u0131b k\u00fcl olaca\u011f\u0131n\u0131n d\u0259rkind\u0259n do\u011fan faci\u0259vi f\u0259ls\u0259fi k\u0259d\u0259r var.<\/p>\n

Bu m\u00fchitd\u0259 zaman da yoxdur: “V\u0259rdi\u015fli h\u0259r\u0259k\u0259tl\u0259 qol saat\u0131na baxmaq ist\u0259di, d\u0259rhal da yad\u0131na d\u00fc\u015fd\u00fc ki, d\u00fcn\u0259n ax\u015fam bahal\u0131 “Roleks” saat\u0131n\u0131 \u018fdh\u0259m b\u0259y\u0259 ba\u011f\u0131\u015flam\u0131\u015fd\u0131” Vahim\u0259li yuxu kimi, qarabasma kimi xat\u0131rlad\u0131\u011f\u0131 q\u0131sa s\u00fcr\u0259n u\u011fursuz nigahdan sonra tapd\u0131\u011f\u0131 sevgi d\u0259 \u0259l\u00e7atmazd\u0131r. Kamillan\u0131n x\u0259yal\u0131n\u0131 va\u011fzal reall\u0131\u011f\u0131nda “sa\u00e7lar\u0131 ya\u015f\u0131l r\u0259ng\u0259 boyanm\u0131\u015f, qal\u0131n s\u00fcrm\u0259li g\u00f6zl\u0259ri v\u0259 al q\u0131rm\u0131z\u0131 dodaqlar\u0131 olan” qad\u0131n\u0131n simas\u0131 \u0259v\u0259z edir. Dair\u0259 qapan\u0131r, idillik Eger \u015f\u0259h\u0259rind\u0259 qovu\u015faca\u011f\u0131 saf m\u0259h\u0259bb\u0259t v\u0259 h\u0259yat x\u0259yallar\u0131 pu\u00e7 olur. \u018fslisin\u0259 qovu\u015fa bilm\u0259y\u0259n K\u0259r\u0259mi \u00f6z ah\u0131, m\u00fcasirimiz \u0130shaq\u0131 is\u0259 \u0259traf\u0131na v\u0259 \u00f6z\u00fcn\u0259 yadla\u015fmas\u0131 yand\u0131r\u0131b k\u00fcl edir. Bu faci\u0259nin b\u0259dii t\u0259svir \u00fcslubunun \u00f6z\u00fcn\u0259m\u0259xsuslu\u011fu is\u0259 iki amild\u0259n – h\u0259l\u0259 d\u0259 aktual olan postsovet sindromundan, eyni zamanda ikil\u0259\u015f\u0259n q\u0259hr\u0259man\u0131n \u0259s\u0259rl\u0259rd\u0259n tan\u0131y\u0131b idealla\u015fd\u0131rd\u0131\u011f\u0131 ba\u015fqa d\u00fcnyalar\u0131n ac\u0131 reall\u0131\u011f\u0131ndan v\u0259 h\u0259yata k\u0259d\u0259rli f\u0259ls\u0259fi bax\u0131\u015f buca\u011f\u0131ndan t\u00f6r\u0259yir v\u0259 bununla da bu hekay\u0259 m\u00fcasir n\u0259srimizd\u0259 yeni yarad\u0131c\u0131l\u0131q meyll\u0259rinin g\u0259li\u015fm\u0259sind\u0259n x\u0259b\u0259r verir.<\/p>\n

(Hekay\u0259nin\u00a0linki<\/a><\/strong>) v\u0259 s\u0259sli<\/p>\n

Asif Hac\u0131l\u0131<\/strong><\/p>\n

Yaz\u0131 m\u00fc\u0259llifin feysbuk s\u0259hif\u0259sind\u0259n g\u00f6t\u00fcr\u00fcl\u00fcb<\/em><\/strong><\/p>\n

 <\/p>\n

 <\/p>\n