{"id":32441,"date":"2019-09-17T01:00:21","date_gmt":"2019-09-16T21:00:21","guid":{"rendered":"http:\/\/edebiyyat-az.com\/?p=32441"},"modified":"2019-09-17T14:03:12","modified_gmt":"2019-09-17T10:03:12","slug":"2018-tarixin-sonunu-inkar-ed%c9%99n-daha-bir-il-elnar%c9%99-akimova-yazir","status":"publish","type":"post","link":"https:\/\/edebiyyat-az.com\/?p=32441","title":{"rendered":"2018 – “Tarixin sonu”nu inkar ed\u0259n daha bir il – Elnar\u0259 AK\u0130MOVA yaz\u0131r"},"content":{"rendered":"

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Yola sald\u0131\u011f\u0131m\u0131z 2018-ci il daha \u00e7ox C\u00fcmhuriyy\u0259t ili kimi yadda qald\u0131. \u015e\u0259rqd\u0259 ilk demokratik respublika kimi \u00f6z yerini tutmu\u015f Az\u0259rbaycan C\u00fcmhuriyy\u0259tinin 100 illiyinin 2018-ci ild\u0259 geni\u015f qeyd edilm\u0259si m\u0259qs\u0259dil\u0259 il boyu t\u0259dbirl\u0259r ke\u00e7irildi, silsil\u0259 m\u0259qal\u0259l\u0259r yaz\u0131ld\u0131, konfranslar t\u0259\u015fkil olundu. C\u00fcmhuriyy\u0259t qurucular\u0131n\u0131n h\u0259r birinin yad edilm\u0259si, xidm\u0259tl\u0259rinin \u00f6n\u0259ms\u0259nilm\u0259si bax\u0131m\u0131ndan bu t\u0259dbirl\u0259rin m\u00fcst\u0259sna rolu oldu.
\n\u00d6t\u0259n il \u0259lam\u0259tdar olan dig\u0259r hadis\u0259 \u00fcmummilli lider Heyd\u0259r \u018fliyevin anadan olmas\u0131n\u0131n 95 illiyi idi. Yubiley \u00f6lk\u0259nin b\u00fct\u00fcn sah\u0259l\u0259rind\u0259 qeyd edildi. Nizami G\u0259nc\u0259vi ad\u0131na \u018fd\u0259biyyat \u0130nstitutu da Heyd\u0259r \u018fliyevin yubileyin\u0259 “Heyd\u0259r \u018fliyev obraz\u0131 \u0259d\u0259biyyatda – tarixi ger\u00e7\u0259klikd\u0259n milli ideala” adlanan kitabla (elmi redaktoru akademik \u0130sa H\u0259bibb\u0259yli, m\u0259sul redaktoru m\u00fcxbir \u00fczv Tehran \u018fli\u015fano\u011flu) t\u00f6hf\u0259sini verdi.
\n\u00d6t\u0259n il Anar\u0131n 80, El\u00e7inin 75, \u018fd\u0259biyyat \u0130nstitutunun 85 illiyi qeyd edildi. “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 h\u0259r \u00fc\u00e7 yubiley x\u00fcsusi burax\u0131l\u0131\u015fla qeyd olundu.
\n2018-ci il g\u00f6zl\u0259nilm\u0259z bir hadis\u0259nin rezonans\u0131 il\u0259 d\u0259 yadda qald\u0131. M\u00fc\u015ffiqin s\u00fcm\u00fckl\u0259rinin tap\u0131lmas\u0131 il\u0259 ba\u011fl\u0131 m\u0259s\u0259l\u0259 uzun m\u00fcdd\u0259t \u00f6lk\u0259 medias\u0131n\u0131 z\u0259bt etdi. B\u00fct\u00fcn m\u0259tbuat\u0131 skelet fotolar\u0131 b\u00fcr\u00fcd\u00fc. M\u0259s\u0259l\u0259 komissiyan\u0131n yarad\u0131lmas\u0131 v\u0259 yekun r\u0259yin onlara h\u0259val\u0259 olunmas\u0131 fakt\u0131 il\u0259 yekunla\u015fsa da, h\u0259r halda prosesin \u0259traf\u0131nda fikir m\u00fcbadil\u0259l\u0259ri uzun m\u00fcdd\u0259t davam etdi. Prosesl\u0259rin aktualland\u0131\u011f\u0131 m\u0259qamda \u00e7oxsayl\u0131 m\u0259qal\u0259l\u0259r yaz\u0131ld\u0131. \u018fd\u0259biyyat\u0131n bax\u0131\u015f\u0131 h\u0259mi\u015f\u0259 f\u0259rqli olub. H\u0259l\u0259 s\u00f6hb\u0259t Mikay\u0131l M\u00fc\u015ffiq kimi \u015faird\u0259n gedirs\u0259. \u00d6t\u0259n il yaz\u0131\u00e7\u0131-esseist G\u00fcnel Eyvazl\u0131n\u0131n yazd\u0131\u011f\u0131 “Aln\u0131mda g\u00f6yn\u0259y\u0259n g\u00fcll\u0259 yeri” m\u0259qal\u0259si bu bax\u0131mdan f\u0259rql\u0259n\u0259n bax\u0131\u015f s\u0259rgil\u0259di. G\u00fcnel Eyvazl\u0131 M\u00fc\u015ffiq m\u0259qam\u0131n\u0131 predmet se\u00e7\u0259r\u0259k \u00fcmumilikd\u0259 x\u0259yan\u0259t amilini \u0259d\u0259biyyatla\u015fd\u0131rd\u0131. S\u0259n\u0259tkara edil\u0259n qibt\u0259 hissi, Salyeri kompleksind\u0259n \u0259ziyy\u0259t \u00e7\u0259k\u0259nl\u0259rin b\u00f6y\u00fck insanlar\u0131 \u00f6z yolunun \u00fcst\u00fcnd\u0259n g\u00f6t\u00fcrm\u0259k \u00fc\u00e7\u00fcn etdiyi r\u0259zillikl\u0259r bu m\u0259qal\u0259d\u0259 m\u00fcxt\u0259lif n\u00fcmun\u0259l\u0259r \u0259sas\u0131nda obrazla\u015fd\u0131r\u0131lsa da, \u0259sas h\u0259d\u0259f M\u00fc\u015ffiq \u00f6mr\u00fc, M\u00fc\u015ffiq taleyi idi: “B\u0259lk\u0259, kim olursa-olsun, ara\u015fd\u0131rmadan, t\u0259dqiqat aparmadan d\u0259fn ed\u0259k? Onun yox, bu d\u00fcnyadan getmi\u015f M\u00fc\u015ffiqin ruhu yox, bizim – bizim narahat ruhumuzun \u0259vv\u0259l-ax\u0131r dinclik tapmas\u0131 \u00fc\u00e7\u00fcn!
\nSilahlar indi daha s\u0259rrastd\u0131r. Eyni anda ard-arda at\u0259\u015f a\u00e7maq m\u00fcmk\u00fcnd\u00fcr. \u015e\u0259xs yer\u0259 y\u0131x\u0131lmam\u0131\u015f havadaca d\u0259f\u0259l\u0259rl\u0259 g\u00fcll\u0259l\u0259n\u0259 bil\u0259r. Sizc\u0259, ikinci g\u00fcll\u0259ni aln\u0131na vurana q\u0259d\u0259r M\u00fc\u015ffiq ayaq \u00fcst\u0259 dayanm\u0131\u015fd\u0131m\u0131? Yoxsa \u0259mr\u0259 m\u00fcnt\u0259zir olan \u0259sl\u0259n az\u0259rbaycanl\u0131 \u0259sg\u0259r \u015fair yer\u0259 y\u0131x\u0131ld\u0131qdan sonra, \u015fairin \u00f6l\u00fcm\u00fcn\u0259 \u0259min olmaq \u00fc\u00e7\u00fcn ona yax\u0131nla\u015f\u0131b yenid\u0259n aln\u0131ndan at\u0259\u015f a\u00e7m\u0131\u015fd\u0131m\u0131? Adam sa\u011fd\u0131r, ondan x\u0259b\u0259r al\u0131n!”.
\nRoman. \u018fd\u0259biyyat\u0131n qar\u015f\u0131la\u015fd\u0131\u011f\u0131 \u0259sas problem ger\u00e7\u0259klik v\u0259 ona yana\u015fma t\u0259rzidir. Bug\u00fcnk\u00fc \u0259d\u0259biyyat yeni tipoloji hadis\u0259dir. Yaln\u0131z ictimai-ideoloji m\u00fchitin, \u0259d\u0259bi-b\u0259dii, estetik-m\u0259n\u0259vi d\u0259y\u0259rl\u0259rin t\u0259b\u0259dd\u00fclata u\u011framas\u0131 deyil, daha d\u0259rin izahlar\u0131 olan m\u0259s\u0259l\u0259dir. \u00c7a\u011fda\u015f \u0259d\u0259biyyat daha \u00e7ox Q\u0259rb-d\u00fcnya \u0259d\u0259biyyat\u0131n\u0131n t\u0259sirind\u0259 var-g\u0259l etm\u0259d\u0259dir. Bel\u0259 bir hal, t\u0259bii ki, M.F.Axundzad\u0259 zaman\u0131ndan ba\u015flayaraq, realizm v\u0259 romantizm poetikas\u0131n\u0131n m\u00fck\u0259mm\u0259l, milli keyfiyy\u0259tl\u0259ri ehtiva ed\u0259n XX \u0259srin \u0259vv\u0259ll\u0259ri \u00fc\u00e7\u00fcn d\u0259 xarakterik idi. Amma h\u0259min d\u00f6vrl\u0259rd\u0259 yaz\u0131\u00e7\u0131lar d\u00fcnya n\u0259srind\u0259n birba\u015fa milli problematikaya n\u00fcfuz \u00fc\u00e7\u00fcn yararlan\u0131r, d\u00f6vr\u00fcn maarif\u00e7ilik, qad\u0131n azadl\u0131\u011f\u0131, m\u00f6vhumatla m\u00fcbariz\u0259 m\u0259s\u0259l\u0259l\u0259rini qabartmaqla problematik z\u0259rur\u0259td\u0259n estetik m\u00fc\u0259yy\u0259nliy\u0259 q\u0259d\u0259r yol g\u0259lirdil\u0259r. Bug\u00fcn\u00fcn d\u0259 \u00f6z \u00e7e\u015fidli probleml\u0259ri var, amma yaz\u0131\u00e7\u0131 \u00f6z\u00fcn\u00fc bunlardan azad edib. O, \u00f6z\u00fcn\u00fc hans\u0131sa sosial sifari\u015fin ruporu olmaqdan ar\u0131nd\u0131r\u0131b. M\u0259ti Osmano\u011flu \u00f6t\u0259n il “525-ci q\u0259zet”d\u0259 jurnalistin ona \u00fcnvanlad\u0131\u011f\u0131 “\u0130ndi yaranan b\u0259dii m\u0259tnl\u0259rin \u00e7at\u0131\u015fmayan \u0259sas c\u0259h\u0259ti n\u0259dir, – sual\u0131na bel\u0259 cavab verir: “- M\u0259n\u0259 el\u0259 g\u0259lir ki, bug\u00fcnk\u00fc h\u0259yat\u0131m\u0131z, h\u0259yat\u0131n ritmi, ah\u0259ngi \u00e7at\u0131\u015fm\u0131r. \u018fd\u0259biyyat, sanki daha \u00e7ox h\u0259yatdan k\u0259narda n\u0259l\u0259ris\u0259 axtar\u0131r. M\u0259n m\u00fcasir \u0259d\u0259biyyatda \u00f6z\u00fcm\u00fcn, m\u00fcasirl\u0259rimin h\u0259yat\u0131n\u0131, probleml\u0259rini, sevincl\u0259rini, faci\u0259sini n\u0259 d\u0259r\u0259c\u0259d\u0259 g\u00f6r\u0259 bilir\u0259m? M\u0259s\u0259l\u0259 budur!”. (“\u0130ndi yaranan m\u0259tnl\u0259rd\u0259 h\u0259yat\u0131n ah\u0259ngi \u00e7atm\u0131r” (M\u0259ti Osmano\u011flu il\u0259 m\u00fcsahib\u0259. “525-ci q\u0259zet”, 30 iyun 2018).
\nM\u0259ti Osmano\u011flunun vur\u011fu sald\u0131\u011f\u0131 m\u0259qam \u00e7ox \u0259h\u0259miyy\u0259tlidir v\u0259 insan\u0131n zamanda yeri il\u0259 ba\u011fl\u0131 ideyan\u0131n n\u0259srimizd\u0259 i\u015fl\u0259kliyi bax\u0131m\u0131ndan d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Bu g\u00fcn \u0259d\u0259biyyat daha \u00e7ox simvollar\u0131n dili il\u0259 dan\u0131\u015fma\u011f\u0131 t\u0259rcih edir. Tarix\u0259 d\u00f6n\u00fc\u015f, mifolojiy\u0259 meyil, irreal al\u0259ml\u0259r, fantastik d\u00fcnyalar, f\u00f6vq\u0259lt\u0259bii q\u00fcvv\u0259l\u0259rin apar\u0131c\u0131 olmas\u0131… \u018fd\u0259biyyat daha \u00e7ox t\u0259ht\u0259l\u015f\u00fcura enib, \u0259dibl\u0259rimizin yarad\u0131c\u0131l\u0131q ruhu daha d\u0259rinl\u0259r\u0259 var\u0131b, mifoloji kontekstin f\u0259rqli t\u0259zah\u00fcrl\u0259ri verilir. \u00d6t\u0259n il n\u0259srd\u0259 bu tendensiya yen\u0259 d\u0259 qabar\u0131ql\u0131\u011f\u0131 il\u0259 se\u00e7ildi. Meydana qoyulan romanlarda arxetipik motivl\u0259r, fl\u0259\u015fbek elementl\u0259ri, retrospeksiya hallar\u0131, intertekstuall\u0131q \u00f6nd\u0259 idi. Bu c\u0259h\u0259t roman janr\u0131nda yaz\u0131lan n\u00fcmun\u0259l\u0259rd\u0259 daha apar\u0131c\u0131d\u0131r. Zahid Sar\u0131torpa\u011f\u0131n “Qu\u015flar\u0131n intihar\u0131na a\u011flamay\u0131n”, \u015e\u0259rif A\u011fayar\u0131n “A\u011f yel”, S\u0259rdar Aminin “Su s\u0259rgisi” romanlar\u0131nda insan\u0131n zamanla dialoqu sirli qatda, paralel d\u00fcnya modell\u0259rind\u0259 ba\u015f tutdu.
\nMilli m\u00fcst\u0259qillik d\u00f6vr\u00fc bizim n\u0259sr v\u0259 poeziyam\u0131za \u00e7\u00f6k\u00fc\u015f \u0259hval\u0131n\u0131n b\u0259dii t\u0259zah\u00fcr \u015f\u0259kli kimi g\u0259ldi. Bunun s\u0259b\u0259bl\u0259ri haqda \u00e7ox dan\u0131\u015fma\u011fa l\u00fczum yoxdur. Zaman\u0131n portretinin t\u0259hl\u00fck\u0259d\u0259 oldu\u011fu bir d\u00f6vrd\u00fcr, h\u0259l\u0259 \u00fcst\u0259lik, milli insan\u0131n torpaq a\u011fr\u0131s\u0131ndan tutmu\u015f, sosial-psixoloji ac\u0131lar\u0131na q\u0259d\u0259r \u00e7ox m\u0259qam\u0131 i\u00e7in\u0259 al\u0131r. Qeyd edim ki, bizd\u0259 dekadans \u00e7alarlar \u0259sas\u0259n poeziya \u00fc\u00e7\u00fcn daha xarakterik oldu, n\u0259srd\u0259 bu, o q\u0259d\u0259r d\u0259 hiss olunmad\u0131. \u00c7\u00fcnki n\u0259sr poeziyadan f\u0259rqli olaraq ger\u00e7\u0259kl\u0259rin t\u0259svirin\u0259 o q\u0259d\u0259r d\u0259 k\u00f6kl\u0259nm\u0259di. Poeziyada postmodernist t\u0259may\u00fcl\u00fcn \u015f\u0259rtl\u0259rind\u0259n ir\u0259li g\u0259l\u0259n ger\u00e7\u0259kliyin boz, boyas\u0131z t\u0259sviri \u00f6n\u0259 \u00e7\u0131xd\u0131sa, n\u0259srd\u0259 simvolikaya meyil, retrospeksiya hallar\u0131, zaman s\u0131\u00e7ramalar\u0131n\u0131n i\u015fl\u0259kliyi \u0259sas istiqam\u0259t kimi qabard\u0131.
\nN\u0259srl\u0259 ba\u011fl\u0131 m\u0259qal\u0259l\u0259rimd\u0259 daim aktualland\u0131rd\u0131\u011f\u0131m bir m\u0259qama bu yax\u0131nlarda Qism\u0259tin t\u0259rc\u00fcm\u0259sind\u0259 oxudu\u011fum – Adam Kir\u015fin “Qlobal roman – XXI \u0259srd\u0259 d\u00fcnyan\u0131 yazmaq” kitab\u0131ndan t\u0259qdim olunmu\u015f par\u00e7ada da rast g\u0259ldim. M\u00fc\u0259llif \u00e7a\u011fda\u015f d\u00fcnya roman\u00e7\u0131lar\u0131n\u0131n k\u00f6kl\u0259ndiyi \u00f6zg\u0259l\u0259\u015fm\u0259 kimi m\u00f6vzudan b\u0259hs ed\u0259r\u0259k yaz\u0131r ki, roman\u00e7\u0131lar\u0131n “bu g\u00fcn daha \u00e7ox pessimist olmas\u0131 – q\u0259ddarl\u0131q, \u00f6zg\u0259l\u0259\u015fm\u0259 v\u0259 istismar kimi m\u00f6vzulara fokuslanmas\u0131 – qlobal roman yazma\u011f\u0131n, \u0259slind\u0259, \u0259d\u0259biyyat\u0131n d\u00fcnyan\u0131 t\u0259msil etm\u0259k g\u00fcc\u00fcnd\u0259 olmaq h\u0259qiq\u0259tin\u0259 k\u00f6lg\u0259 salmamal\u0131d\u0131r”. Dem\u0259k ki, d\u00fcnya roman\u00e7\u0131lar\u0131 eyni m\u0259qamda birl\u0259\u015firl\u0259r. B\u0259s nec\u0259?! \u00d6zg\u0259l\u0259\u015fm\u0259 \u00e7a\u011fda\u015f d\u00fcnyan\u0131n g\u0259tirdiyi m\u00f6vzudursa, onun h\u0259qiq\u0259tini d\u0259 \u00e7a\u011fda\u015f d\u00fcnyada aramal\u0131y\u0131q. Bu, insan\u0131 s\u00fcr\u0259tl\u0259 robotla\u015fma\u011fa aparan d\u00fcnya d\u00fcz\u0259nin\u0259 qar\u015f\u0131 yaz\u0131\u00e7\u0131n\u0131n \u00e7ald\u0131\u011f\u0131 h\u0259y\u0259can t\u0259bilidir. \u00d6t\u0259n il bu m\u0259qam n\u0259srin \u0259sas d\u00fc\u015f\u00fcnc\u0259 v\u0259 inikas predmetin\u0259 \u00e7evrildi.
\nYaz\u0131\u00e7\u0131 Qurban Yaqubo\u011flu bu m\u00f6vzuda yazd\u0131\u011f\u0131 “M\u0259n yoxam” roman\u0131nda m\u0259s\u0259l\u0259y\u0259 daha geni\u015f kontekstd\u0259 n\u0259z\u0259r yetirm\u0259kl\u0259 onu n\u0259srimizin aktual vur\u011fusuna \u00e7evirm\u0259yi bacard\u0131. “M\u0259n yoxam”! \u018fs\u0259rin ad\u0131 bel\u0259, \u00e7a\u011fda\u015f insan\u0131n zamanda yerini g\u00f6st\u0259rm\u0259k bax\u0131m\u0131ndan simvolik say\u0131l\u0131r. N\u0259sill\u0259raras\u0131 soyuqluq, qan qohumlar\u0131n\u0131n yadla\u015fmas\u0131, ke\u00e7mi\u015fl\u0259 q\u0131r\u0131lan ba\u011f\u0131n g\u0259tirdiyi bo\u015fluq insan\u0131n h\u0259yat\u0131nda m\u0259n\u0259vi xaosun, nizams\u0131zl\u0131\u011f\u0131n z\u0259mini olur. “M\u0259n yoxam” roman\u0131nda bir \u015f\u0259xsin d\u00fc\u015f\u00fcnc\u0259l\u0259ri, m\u0259n\u0259vi al\u0259mi \u00f6t\u0259n ill\u0259rin yadda\u015f qar\u0131\u015f\u0131m\u0131nda a\u00e7\u0131l\u0131r. D\u00fcnyan\u0131n faniliyin\u0259 k\u00f6kl\u0259nm\u0259k, \u00f6mr\u00fc boyu xatir\u0259 y\u0131\u011fa-y\u0131\u011fa qurulan \u00f6m\u00fcr hekay\u0259tl\u0259ri roman\u0131n s\u0259tirl\u0259ri aras\u0131ndan ovuc-ovuc t\u00f6k\u00fcl\u00fcr. Qurban Yaqubo\u011flu indinin i\u00e7ind\u0259 ke\u00e7mi\u015fi konkretl\u0259\u015fdirir, retrospeksiya m\u0259tnin struktur t\u0259rkibind\u0259 zaman kateqoriyas\u0131n\u0131n elementi, t\u0259hkiy\u0259-diskurs s\u0259viyy\u0259l\u0259rind\u0259 meydana qoyulur. M\u00fc\u0259llif obrazlar\u0131, onlar\u0131n m\u00fcxt\u0259lif tale yollar\u0131n\u0131, aqib\u0259t v\u0259 ya\u015fant\u0131lar\u0131n\u0131 \u00e7\u0259r\u00e7iv\u0259l\u0259nmi\u015f n\u0259ql strukturunda birl\u0259\u015fdirm\u0259y\u0259 nail olur.
\nS\u0259rdar Aminin “Su s\u0259rgisi” roman\u0131nda da \u0259sas ideya insan\u0131 k\u00f6k\u00fcn\u0259 ba\u011flama\u011fa, inanc v\u0259 ruh sisteminin b\u0259rpas\u0131na y\u00f6n\u0259lib. Modernl\u0259\u015fdikc\u0259 \u0259n\u0259n\u0259l\u0259rind\u0259n qopan, ruhu korlanan, robotla\u015fan, maddi-texniki d\u0259y\u0259rl\u0259r\u0259 uduzan, t\u0259bi\u0259t ba\u015flan\u011f\u0131c\u0131n\u0131 itir\u0259n, \u0259v\u0259zind\u0259 hissizl\u0259\u015f\u0259n, duy\u011fular\u0131 \u00f6l\u0259ziy\u0259n, g\u00fcnah girdab\u0131nda \u00e7abalayan insan\u0131n durumu \u0259s\u0259rin ideya-estetik, m\u0259zmun-problematika rakursunu, h\u0259r\u0259k\u0259t ritmini m\u00fc\u0259yy\u0259nl\u0259\u015fdirir.
\nH\u0259r zaman qeyd etdiyim bir m\u0259s\u0259l\u0259 var. El\u0259 m\u00f6vzular var ki, n\u0259sr\u0259 g\u0259tirilm\u0259si laz\u0131md\u0131r, vacibdir, \u00f6n\u0259mlidir. M\u0259s\u0259l\u0259n, Az\u0259rbaycanl\u0131lar\u0131n \u00f6z tarixi torpaqlar\u0131ndan deportasiyas\u0131 (1948-53) m\u00f6vzusu, repressiya, c\u00fcmhuriyy\u0259t m\u00f6vzular\u0131 v\u0259 s. \u00d6t\u0259n il M\u0259nz\u0259r Niyarl\u0131n\u0131n “V\u0259t\u0259nd\u0259n v\u0259t\u0259n\u0259” povesti (“Az\u0259rbaycan” jurnal\u0131, 2019, \u2116 10, 11) repressiya m\u00f6vzusuna, q\u0259rib\u00e7ilik h\u0259yat\u0131na diqq\u0259t \u00e7\u0259k\u0259n \u0259s\u0259r kimi n\u0259srimizd\u0259ki bu istiqam\u0259td\u0259 m\u00f6vcud bo\u015flu\u011fu doldurmaq y\u00f6n\u00fcnd\u0259 at\u0131lan \u00e7ox u\u011furlu add\u0131md\u0131r. M\u00f6vzu M\u0259nz\u0259r Niyarl\u0131 yarad\u0131c\u0131l\u0131\u011f\u0131 \u00fc\u00e7\u00fcn yad deyil. M\u00fc\u0259llifin bu m\u00f6vzuda yaz\u0131lm\u0131\u015f “Qara \u00f6rp\u0259k” povesti h\u0259l\u0259 ill\u0259r \u00f6nc\u0259 bir \u00e7ox m\u0259qamlara h\u0259ssasl\u0131\u011f\u0131 il\u0259 diqq\u0259t \u00e7\u0259kirdi. “V\u0259t\u0259nd\u0259n v\u0259t\u0259n\u0259” povestind\u0259 m\u00f6vzu \u015fax\u0259lidir, \u0259sas s\u00fcjetd\u0259n t\u00f6r\u0259m\u0259 x\u0259tl\u0259r ayr\u0131l\u0131r: repressiya d\u00f6vr\u00fcn\u00fcn a\u011fr\u0131lar\u0131, s\u00fcrg\u00fcn h\u0259yat\u0131, m\u0259hv olmu\u015f ail\u0259l\u0259r, g\u00f6z\u00fc yolda qalan \u00f6vladlar \u0259s\u0259rd\u0259n ke\u00e7\u0259n \u0259sas motivl\u0259rdir. \u00dcst\u0259lik, m\u00fc\u0259llif bura Kamal v\u0259 H\u0259lim\u0259 aras\u0131nda sevgi motivini d\u0259 \u0259lav\u0259 edir. Povestd\u0259 \u0130kinci D\u00fcnya m\u00fcharib\u0259sinin insanlar\u0131 acl\u0131q, t\u0259klikl\u0259 imtahana \u00e7\u0259k\u0259n d\u0259h\u015f\u0259tl\u0259ri d\u0259 yer al\u0131r. “Atas\u0131 v\u0259t\u0259n xaini, s\u00fcrg\u00fcn h\u0259yat\u0131 s\u00fcr\u0259n, k\u00f6\u00e7k\u00fcnl\u0259r, kims\u0259sizl\u0259r \u00fc\u00e7\u00fcn tikil\u0259n baraklar\u0131n birind\u0259 \u0259misinin himay\u0259sind\u0259 ya\u015fayan bir q\u0131z”… B\u00fct\u00fcn \u00e7\u0259tinlikl\u0259r\u0259 r\u0259\u011fm\u0259n haqs\u0131z yer\u0259 casus ad\u0131 il\u0259 dam\u011falan\u0131b s\u00fcrg\u00fcn\u0259 g\u00f6nd\u0259ril\u0259n atas\u0131n\u0131n yolunu g\u00f6zl\u0259y\u0259n H\u0259lim\u0259nin i\u00e7 d\u00fcnyas\u0131, sev\u0259n q\u0259lbi, m\u0259n\u0259vi vuru\u015flar\u0131 \u0259s\u0259rd\u0259 \u0259sas t\u0259svir predmeti kimi m\u0259nalan\u0131r.
\nHekay\u0259. \u00d6t\u0259n il hekay\u0259 il\u0259 ba\u011fl\u0131 bir ne\u00e7\u0259 m\u00fcsabiq\u0259 ke\u00e7irildi. Mir C\u0259lal ad\u0131na beyn\u0259lxalq hekay\u0259 m\u00fcsabiq\u0259si (qeyd ed\u0259k ki, m\u00fcsabiq\u0259nin se\u00e7ilmi\u015f hekay\u0259l\u0259ri “Az\u0259rbaycan” jurnal\u0131n\u0131n 6-c\u0131 say\u0131nda i\u015f\u0131q \u00fcz\u00fc g\u00f6rm\u00fc\u015fd\u00fcr), Mahmud Ka\u015f\u011farl\u0131 ad\u0131na hekay\u0259 m\u00fcsabiq\u0259si v\u0259 s. Qeyd etdiyimiz kimi, bu g\u00fcn n\u0259srin ifad\u0259 vasit\u0259l\u0259rin\u0259 \u00e7ox yenilikl\u0259r daxil olub. H\u0259tta prozaya adlayan g\u0259nc yazar\u0131n q\u0259l\u0259mind\u0259 bel\u0259, bu yenilikl\u0259r\u0259, forma m\u00fcr\u0259kk\u0259blikl\u0259rin\u0259 meyil – \u015f\u00fcur ax\u0131n\u0131, fantasmaqoriyaya, retrospektiv s\u0131\u00e7ray\u0131\u015flara alud\u0259\u00e7ilik qa\u00e7\u0131lmazd\u0131r v\u0259 \u00e7a\u011fda\u015fl\u0131\u011f\u0131n g\u00f6st\u0259ricisi kimi z\u0259ruri element\u0259 \u00e7evrilm\u0259y\u0259 ba\u015flay\u0131b. Bel\u0259 bir durumda S\u0259f\u0259r Al\u0131\u015farl\u0131, \u018flabbas, Azad Qarad\u0259r\u0259li, Meyxo\u015f Abdulla, Ya\u015far B\u00fcnyad, T\u0259ran\u0259 Vahid, K\u0259nan Hac\u0131, Qantural\u0131, Alpay Az\u0259r, Az\u0259r Qism\u0259t v\u0259 dig\u0259rl\u0259rinin realist q\u0259l\u0259ml\u0259 m\u0259tnl\u0259r meydana qoymas\u0131 t\u0259kc\u0259 yaz\u0131\u00e7\u0131n\u0131n \u00f6z \u00fcslubuna, yaz\u0131 v\u0259 ifad\u0259 maneras\u0131na sadiqliyi deyil, h\u0259m d\u0259 h\u0259yat ger\u00e7\u0259kl\u0259rinin onlar\u0131n n\u0259z\u0259rl\u0259rind\u0259 h\u0259l\u0259 d\u0259 \u0259h\u0259miyy\u0259tini saxlamas\u0131 il\u0259 \u00f6l\u00e7\u00fclm\u0259lidir. Bu yaz\u0131\u00e7\u0131lar\u0131n hekay\u0259l\u0259ri c\u0259miyy\u0259t ger\u00e7\u0259kl\u0259rinin t\u0259sviri, fikir konkretliyi v\u0259 \u00e7a\u011f\u0131n qabar\u0131q ideyalar\u0131 \u00fcz\u0259rind\u0259dir.
\n\u018flabbas n\u0259srinin fokusland\u0131\u011f\u0131 m\u00fcst\u0259vi d\u0259yi\u015fm\u0259yib, o, daha \u00e7ox milli \u0259yal\u0259t h\u0259yat\u0131na maraql\u0131d\u0131r, milli s\u00fcjet\u0259 s\u0259daq\u0259ti il\u0259 se\u00e7ilir, xalq dilinin qatlar\u0131 \u00fcz\u0259rind\u0259 k\u00f6kl\u0259nir. H\u0259yat\u0131n k\u00fcnc\u0259 s\u0131x\u0131\u015fd\u0131rd\u0131\u011f\u0131 insanlardan yaz\u0131r, onlar\u0131n a\u011fr\u0131lar\u0131n\u0131, bu a\u011fr\u0131lar\u0131 yaradan s\u0259b\u0259bl\u0259ri t\u0259svir predmetin\u0259 \u00e7evirir. Ya\u015far B\u00fcnyad n\u0259srimiz\u0259 gec g\u0259ls\u0259 d\u0259, ard-arda yazd\u0131\u011f\u0131 hekay\u0259l\u0259rl\u0259 se\u00e7il\u0259 bildi, haz\u0131rk\u0131 s\u0259s \u00e7oxlu\u011fu, motiv v\u0259 intonasiya qar\u0131\u015f\u0131ql\u0131\u011f\u0131nda \u00f6z\u00fcn\u00fcn n\u0259sr dili, n\u0259ql texnikas\u0131, m\u00f6vzuya yana\u015fma \u00f6z\u0259lliyi il\u0259 f\u0259rql\u0259nm\u0259yi bacard\u0131. Ya\u015far B\u00fcnyad insanlar\u0131n sosial probleml\u0259rini, ya\u015famaq u\u011frunda m\u00fccadil\u0259sini, m\u00fcharib\u0259 f\u0259sadlar\u0131n\u0131 g\u00fcn\u00fcn t\u0259hkiy\u0259sin\u0259 g\u0259tirm\u0259y\u0259 \u00e7al\u0131\u015f\u0131r. Daha \u00e7ox m\u0259n\u0259vi d\u0259y\u0259rl\u0259rin q\u00fcrubunu b\u0259dii m\u0259tnl\u0259rind\u0259 obrazla\u015fd\u0131r\u0131r v\u0259 d\u0259y\u0259rl\u0259r\u0259 bax\u0131\u015f\u0131 d\u0259yi\u015f\u0259n, ail\u0259 ba\u011flar\u0131 q\u0131r\u0131lan, c\u0259miyy\u0259t\u0259, do\u011fuldu\u011fu m\u0259kana \u00f6zg\u0259l\u0259\u015f\u0259n f\u0259rdin probleml\u0259rini qabartmaq, saxta \u0259xlaqi qaydalara, sosial normalara qar\u015f\u0131 \u00e7\u0131xmaqla f\u0259rqli bir d\u00fcnyag\u00f6r\u00fc\u015fd\u0259n \u00e7\u0131x\u0131\u015f edir.
\nG\u00f6r\u00fcn\u00fcr, meqapolisin probleml\u0259ri artd\u0131qca k\u0259nd\u0259 qay\u0131d\u0131\u015f sevdas\u0131 daha qabar\u0131q \u00f6n\u0259 \u00e7\u0131xmaqdad\u0131r. \u00d6z\u00fc d\u0259 yaz\u0131\u00e7\u0131lar\u0131m\u0131z bu m\u00f6vzunu daha s\u0259ri\u015ft\u0259 il\u0259 q\u0259l\u0259m\u0259 al\u0131rlar. \u018flabbas\u0131n “Arvanada d\u0259fn” hekay\u0259si d\u0259 m\u00f6vzunun u\u011furlu b\u0259dii h\u0259llini ver\u0259n m\u0259tn idi. Ya\u015far B\u00fcnyad\u0131n “Qu\u015flar qay\u0131td\u0131sa…” hekay\u0259sind\u0259 d\u0259 m\u00fc\u0259llifin d\u00fc\u015f\u00fcnc\u0259 s\u0131ras\u0131 insan-t\u0259bi\u0259t m\u00fcnasib\u0259tl\u0259rin\u0259 q\u0259d\u0259r var\u0131r, atalar v\u0259 o\u011fullar problemi, laxlayan patriarxal d\u0259y\u0259rl\u0259r\u0259 etiraz ruhu il\u0259 bitkinlik qazan\u0131r.
\n\u00dcmumiyy\u0259tl\u0259, bu hekay\u0259l\u0259r d\u0259y\u0259rl\u0259rin dayan\u0131ql\u0131\u011f\u0131na ill\u00fcstrasiyad\u0131r. Qapal\u0131 \u0259n\u0259n\u0259vi d\u00fcnya v\u0259 onun insanlar\u0131.. \u0130nsanlar\u0131n do\u011fulduqlar\u0131 yurda ba\u011fl\u0131l\u0131\u011f\u0131, ail\u0259 d\u0259y\u0259rl\u0259rin\u0259 \u0259h\u0259miyy\u0259ti, k\u00f6k\u0259, mentall\u0131\u011fa sadiqlik \u0259sas \u00e7alarlard\u0131r. Yaz\u0131\u00e7\u0131 bu d\u0259y\u0259rl\u0259rd\u0259n v\u0259 v\u0259ziyy\u0259tl\u0259rd\u0259n yola \u00e7\u0131xaraq daha yan motivl\u0259rin t\u00f6r\u0259m\u0259sin\u0259 yol a\u00e7\u0131r. Sosial motivl\u0259ri qabard\u0131r, \u00f6zg\u0259l\u0259\u015fm\u0259 m\u0259s\u0259l\u0259l\u0259rini diskursa \u00e7evirir, m\u00fcharib\u0259 ill\u0259rinin dramatizmini \u00f6n\u0259 \u00e7\u0259kir.
\n\u00c7a\u011f\u0131m\u0131z\u0131n h\u0259qiq\u0259tidir, XX \u0259srin sonlar\u0131ndan ba\u015flayaraq \u0259d\u0259biyyat ideya b\u00f6hran\u0131 \u00fcz\u0259rind\u0259dir, d\u00fcnyan\u0131 a\u011f\u0131r ictimai-siyasi v\u0259 m\u0259n\u0259vi kataklizml\u0259rd\u0259n xilas ed\u0259c\u0259k ali niyy\u0259t v\u0259 ideallar z\u0259minind\u0259 idrak etm\u0259kd\u0259dir. G\u00fcnel \u015e\u0259milq\u0131z\u0131n\u0131n “Q\u0259hr\u0259man” hekay\u0259si bu m\u0259nada, b\u0259\u015f\u0259riyy\u0259ti d\u0259yi\u015fm\u0259y\u0259 y\u00f6n\u0259lmi\u015f ideya \u0259d\u0259biyyat\u0131n\u0131n bir n\u00fcmun\u0259si kimi t\u0259c\u0259ss\u00fcml\u0259nir. Orxan Fikr\u0259to\u011flunun \u00f6t\u0259n il \u00e7ap olunan hekay\u0259l\u0259rind\u0259 klassik n\u0259sr problematikas\u0131n\u0131n – m\u00fcs\u0259lman fanatizminin ironik planda aktuallanmas\u0131, Orta \u0259sr dini t\u0259f\u0259kk\u00fcr\u00fcn\u00fcn diriliyin\u0259 i\u015far\u0259l\u0259r yer al\u0131r. M\u0259s\u0259l\u0259n, m\u00fc\u0259llifin “D\u0259ccal” hekay\u0259sinin d\u00fc\u015f\u00fcnc\u0259 akt\u0131 birba\u015fa bu olmasa da, kontekst, h\u0259m d\u0259 vur\u011fulad\u0131\u011f\u0131m\u0131z m\u0259qamdan ke\u00e7ir. Lakin u\u011fur m\u0259tnd\u0259 motivasiyas\u0131n\u0131 tapan h\u0259yat hekay\u0259tinin se\u00e7ilm\u0259sind\u0259 deyil, b\u00fct\u00fcnl\u00fckd\u0259 struktur m\u0259zmunu v\u0259 kompozisiya \u0259hat\u0259liyind\u0259dir. M\u00fc\u0259llif bir ne\u00e7\u0259 janr elementind\u0259n istifad\u0259 edir: satirik t\u0259rzd\u0259 ba\u015flad\u0131\u011f\u0131 hekay\u0259ni getdikc\u0259 dram, sonra is\u0259 faci\u0259 h\u00fcdudunda yana\u015f\u0131 g\u0259tirir. M\u00fcbariz C\u0259f\u0259rlini daha \u00e7ox problematika – yetkin \u015f\u00fcur, \u00f6z\u00fcn\u00fc d\u0259rk ed\u0259n f\u0259rd m\u0259s\u0259l\u0259l\u0259ri d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Yaz\u0131\u00e7\u0131n\u0131n \u00f6t\u0259n il “Az\u0259rbaycan” jurnal\u0131nda \u00e7ap olunan hekay\u0259l\u0259rind\u0259 m\u00fc\u0259llif irfan d\u00fc\u015f\u00fcnc\u0259si, insan\u0131n katarsis prosesini ideal v\u0259 real t\u0259zah\u00fcrl\u0259rind\u0259 m\u0259tn\u0259 g\u0259tirm\u0259y\u0259, d\u0259rinl\u0259rin\u0259 varma\u011fa \u00e7al\u0131\u015f\u0131r, ruhla cismin ba\u011fl\u0131l\u0131\u011f\u0131 ideyas\u0131n\u0131 t\u0259c\u0259ss\u00fcm etdirir.
\nEl\u00e7inin son d\u00f6vr na\u011f\u0131llar ad\u0131 alt\u0131nda t\u0259qdim etdiyi hekay\u0259l\u0259rd\u0259 predmet, t\u0259svir \u00fcnvan\u0131 n\u0259batat, heyvanat al\u0259mi – a\u011fac, kol, qu\u015f v\u0259 s. olsa da, t\u0259hkiy\u0259nin arxas\u0131nda h\u0259yat\u0131n \u00f6z\u00fc, duy\u011fular al\u0259mi, insan g\u00f6r\u00fcn\u00fcr. Yaz\u0131\u00e7\u0131 g\u00fcn\u00fc-g\u00fcnd\u0259n ucuzla\u015fan, d\u0259y\u0259rini itir\u0259n bu d\u00fcnyada sevgi m\u00f6vzusunu daha f\u0259rqli d\u00fc\u015f\u00fcnc\u0259 sferas\u0131nda t\u0259qdim edir, insana dair ali hissl\u0259r a\u011faclar, qu\u015flar \u00fcz\u0259rin\u0259 k\u00f6\u00e7\u00fcr\u00fclm\u0259kl\u0259, orijinal b\u0259dii interpretasiyada t\u0259qdim olunur.
\nBu m\u0259qamda bir m\u0259s\u0259l\u0259y\u0259 d\u0259 diqq\u0259t yetirm\u0259y\u0259 d\u0259y\u0259r. Milli h\u0259yat\u0131m\u0131z\u0131n t\u0259zadlar\u0131 \u0259d\u0259biyyat\u0131m\u0131z\u0131n daxili m\u0259zmununa \u00e7evril\u0259 bilirmi? Bunu yaz\u0131\u00e7\u0131lar\u0131n \u00f6zl\u0259ri d\u0259f\u0259rl\u0259rl\u0259 bel\u0259 izah edibl\u0259r: indi h\u0259yat \u0259d\u0259biyyat\u0131 gerid\u0259 qoyur, ba\u015f ver\u0259n reall\u0131qlar s\u0259n\u0259td\u0259ki reall\u0131\u011f\u0131 \u00fcst\u0259l\u0259yir. B\u0259lk\u0259 bu g\u00fcn yaz\u0131\u00e7\u0131n\u0131n, \u015fairin dar\u0131xma\u011f\u0131, depressiyaya d\u00fc\u015fm\u0259sinin s\u0259b\u0259bi budur? H\u0259yat ac\u0131lar\u0131n\u0131 d\u0259f ed\u0259 bilm\u0259m\u0259k? Ax\u0131 \u0259d\u0259biyyat h\u0259m d\u0259 i\u015f\u0131\u011f\u0131 tapmaq v\u0259 ora tu\u015flanmaq s\u0259n\u0259tidir…
\nPoeziyam\u0131zda da daha \u00e7ox eyni obraz funksionald\u0131r. D\u00fczd\u00fcr, m\u00fc\u0259yy\u0259n istisnalar var, h\u0259tta \u0259n\u0259n\u0259vi m\u00f6vzu rakurslar\u0131ndan yana\u015fsaq, burada v\u0259t\u0259n, sevgi, Tanr\u0131 ba\u011fl\u0131 \u015feirl\u0259rin patetik ifad\u0259sind\u0259n tutmu\u015f romantik-lirik q\u0259hr\u0259man\u0131n s\u0131z\u0131lt\u0131lar\u0131na q\u0259d\u0259r h\u0259r n\u00f6v yana\u015fmalar\u0131n oldu\u011funu g\u00f6r\u0259c\u0259yik. M\u0259s\u0259l\u0259 d\u0259 m\u0259hz bunda, yana\u015fma f\u0259rqind\u0259dir. Bel\u0259 ki, bu g\u00fcn yeni estetika v\u0259d ed\u0259n, f\u0259rqli forma v\u0259 ideya m\u0259fhumlar\u0131n\u0131n u\u011furlu sintezini yaradan H\u0259diyy\u0259 \u015e\u0259faq\u0259t, Orxan Bahadursoy, F\u0259rid H\u00fcseyn, K\u00f6n\u00fcl Arif, \u0130ntiqam Ya\u015far, Tural Turan\u0131n \u015feirl\u0259rinin q\u0259hr\u0259man\u0131 qar\u015f\u0131s\u0131nda \u0130lham Q\u0259hr\u0259man\u0131n \u00f6t\u0259n il \u00e7ap olunmu\u015f “A\u011flama, q\u0259l\u0259m e\u015fidir” kitab\u0131nda xalq \u015feiri m\u00fcst\u0259visind\u0259 meydana \u00e7\u0131xan m\u0259tnl\u0259ri, Faiq H\u00fcseynb\u0259ylinin sev\u0259n, m\u0259n\u0259vi-ruhi-ilahi m\u0259xr\u0259c\u0259 k\u00f6kl\u0259n\u0259n romantik fiquru, R\u0259biq\u0259 Nazimq\u0131z\u0131n\u0131n qad\u0131n ya\u015fam\u0131n\u0131, onun sosial statusunu yeni t\u0259qdimat formas\u0131nda g\u00f6r\u00fckd\u00fcr\u0259n n\u00fcmun\u0259l\u0259ri he\u00e7 d\u0259 aciz g\u00f6r\u00fcnm\u00fcr. Yaxud \u015e\u0259hriyar del Geraninin “M\u0259nim ixlas\u0131m” v\u0259 “Setara” \u015feirl\u0259rind\u0259, \u00dcmid N\u0259ccarinin “Qaranl\u0131\u011f\u0131n fotosu” kitab\u0131nda, Emin Pirinin “Venesiyaya m\u0259ktublar”\u0131nda, Ulucay Akif v\u0259 Eminqueyin son d\u00f6n\u0259m m\u0259tnl\u0259rind\u0259 ehtiva olunan m\u0259d\u0259niyy\u0259t qat\u0131n\u0131n g\u00fcc\u00fc h\u0259m d\u0259 onunla \u0259lam\u0259tdard\u0131r ki, \u015feirin stixiya il\u0259 deyil, \u00f6z\u00fcn\u0259q\u0259d\u0259rki poetik-estetik t\u0259cr\u00fcb\u0259sini \u015fair “m\u0259n”in\u0259 adlatma\u011fa nail olur.
\nPoema janr\u0131 il\u0259 ba\u011fl\u0131 meydanda olan bo\u015fluqdan \u0259vv\u0259lki m\u0259ruz\u0259l\u0259rimd\u0259 d\u0259 d\u0259f\u0259l\u0259rl\u0259 \u00e7\u0131x\u0131\u015f etmi\u015f, bunun s\u0259b\u0259bl\u0259rini \u015f\u0259rh etm\u0259y\u0259 \u00e7al\u0131\u015fm\u0131\u015fam. \u00d6t\u0259n il bu istiqam\u0259td\u0259 m\u00fc\u0259yy\u0259n add\u0131mlarla yadda qald\u0131. N\u0259riman H\u0259s\u0259nzad\u0259nin Milli Q\u0259hr\u0259man\u0131m\u0131z M\u00fcbariz \u0130brahimova h\u0259sr etdiyi “\u0130stiqlal \u0259sg\u0259ri”, Sona V\u0259liyevan\u0131n “S\u0259m\u0259rq\u0259nd – “Gur \u018fmir”d\u0259 d\u00fc\u015f\u00fcnc\u0259l\u0259r” v\u0259 “S\u0259m\u0259rq\u0259ndd\u0259 Usta \u018flinin t\u00fcrb\u0259si \u00f6n\u00fcnd\u0259” adl\u0131 lirik poemalar\u0131, F\u0259rid H\u00fcseynin “S\u0259m\u0259rq\u0259nd divan\u0131” adl\u0131 poetik silsil\u0259si, x\u00fcsusil\u0259, tarixi m\u00f6vzunun poetika axtar\u0131\u015flar\u0131n\u0131n istiqam\u0259tini ifad\u0259 etm\u0259y\u0259 imkan yaratd\u0131. Bu g\u00fcn poema janr\u0131 m\u00fc\u0259yy\u0259n n\u00fcmun\u0259l\u0259r timsal\u0131nda ke\u00e7mi\u015fimizin miyqasl\u0131 hadis\u0259l\u0259rin\u0259 yenid\u0259n qay\u0131d\u0131r, tarixi \u015f\u0259xsiyy\u0259tl\u0259rimizin obraz\u0131n\u0131, \u015fanl\u0131 t\u00fcrk epoxas\u0131n\u0131 yaradan s\u0259rk\u0259rd\u0259l\u0259rin daxili g\u00fcc v\u0259 \u0259z\u0259m\u0259tini lirik-epik janr\u0131n s\u0131na\u011f\u0131nda t\u0259c\u0259ss\u00fcm\u0259 \u00e7al\u0131\u015f\u0131r.
\nT\u0259nqid v\u0259 \u0259d\u0259biyyat\u015f\u00fcnasl\u0131q. \u018fd\u0259biyyat tarixin\u0259 yeni bax\u0131\u015f, onun inki\u015faf yollar\u0131n\u0131n v\u0259 m\u0259rh\u0259l\u0259l\u0259rinin elmi-n\u0259z\u0259ri bax\u0131mdan t\u0259hlil\u0259 c\u0259lb olunmas\u0131 m\u0259s\u0259l\u0259si \u00f6t\u0259n il akademik \u0130sa H\u0259bibb\u0259ylinin “\u018fd\u0259biyyat tarixi konsepsiyas\u0131” il\u0259 ba\u011fl\u0131 davaml\u0131 yazd\u0131\u011f\u0131 m\u0259qal\u0259l\u0259rd\u0259 prioritet\u0259 \u00e7evrildi. Cavan\u015fir Yusiflinin “Forman\u0131n m\u00fcq\u0259dd\u0259s sirri” adlanan yaz\u0131larda, Nizam\u0259ddin Mustafan\u0131n “S\u0259hv n\u0259z\u0259rl\u0259ri s\u0259rf-n\u0259z\u0259r etm\u0259 vaxt\u0131” adl\u0131 silsil\u0259 m\u0259tnl\u0259rd\u0259 t\u0259dqiqatlar\u0131n \u0259sas m\u00fcnd\u0259ric\u0259si oldu. El\u0259c\u0259 d\u0259 b\u0259zi m\u00fc\u0259llifl\u0259rin yaz\u0131lar\u0131nda \u0259d\u0259biyyat tarixi il\u0259 ba\u011fl\u0131 bir \u00e7ox m\u0259s\u0259l\u0259l\u0259r predmet\u0259 bax\u0131\u015f\u0131n \u00e7a\u011fda\u015fl\u0131\u011f\u0131 il\u0259 se\u00e7ildi. M\u0259s\u0259l\u0259n, “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 t\u0259qdim olunan Niyazi Mehdinin “Janr kodlar\u0131n\u0131n kodla\u015fd\u0131\u011f\u0131 iki Az\u0259rbaycan”, Rahid Uluselin “\u018fn\u0259lh\u0259q”, Az\u0259r Turan\u0131n “115 ya\u015fl\u0131 “Hali-v\u0259t\u0259n”, “Poeziyam\u0131z\u0131n mifi – h\u0259psi r\u0259ngidir”, “\u015eerim sonsuz, fikrim f\u0259zalar q\u0259d\u0259r dibsiz – Mikay\u0131l R\u0259fili”, “Az\u0259rbaycan” jurnal\u0131n\u0131n birinci v\u0259 ikinci saylar\u0131nda \u00e7ap olunan Qorxmaz Quliyevin “Kontekst v\u0259 kod” m\u0259qal\u0259l\u0259ri v\u0259 s. bu kimi m\u0259tnl\u0259r \u0259d\u0259biyyat\u0131m\u0131za yeni, f\u0259rqli bax\u0131\u015f\u0131n n\u00fcmun\u0259l\u0259ridir.
\n“\u018fd\u0259biyyat q\u0259zeti”nin m\u00fczakir\u0259 saat\u0131nda diskurs predmetin\u0259 \u00e7evril\u0259n “Az\u0259rbaycan C\u00fcmhuriyy\u0259ti: tarixi, siyasi v\u0259 \u0259d\u0259bi-f\u0259ls\u0259fi aspektl\u0259ri il\u0259”, “Repressiya: gizlin v\u0259 ger\u00e7\u0259kl\u0259ri il\u0259”, “C\u0259nubi Az\u0259rbaycan \u0259d\u0259biyyat\u0131: tarixd\u0259n bu g\u00fcn\u0259” kimi m\u00fcxt\u0259lif m\u00f6vzulu m\u0259s\u0259l\u0259l\u0259rin \u015f\u0259rhind\u0259 m\u0259qs\u0259d \u00f6t\u0259n ill\u0259rin prosesind\u0259 hans\u0131 durulmalar getdiyini, onun d\u0259rki, idrak v\u0259 \u015f\u0259rh \u00fcsullar\u0131nda ba\u015f ver\u0259n k\u00f6kl\u00fc d\u0259yi\u015fm\u0259l\u0259ri ortaya \u00e7\u0131xarmaq oldu. Tarix ondan araland\u0131qca ke\u00e7mi\u015f\u0259 daha uzaq v\u0259 uca n\u0259z\u0259rl\u0259rl\u0259 bax\u0131\u015f\u0131n predmetin\u0259 \u00e7evrilm\u0259lidir. \u018fks t\u0259qdird\u0259, biz\u0259 qalan ya yerind\u0259 saymaq olacaq, ya da abid\u0259 s\u0259n\u0259tkar\u0131m\u0131za v\u0259 s\u0259rv\u0259tl\u0259rimiz\u0259 uzanan \u0259l v\u0259 dil haramzadal\u0131\u011f\u0131na bax\u0131b k\u00f6ks \u00f6t\u00fcrm\u0259k. Bizim olanlara sahib \u00e7\u0131xmasaq \u0259razimiz kimi tarixi-etnik yadda\u015f\u0131m\u0131z\u0131 da itkil\u0259r\u0259 m\u0259ruz qalmaq t\u0259hl\u00fck\u0259si g\u00f6zl\u0259yir. Bu bax\u0131mdan, \u015f\u0259rq\u015f\u00fcnas alim S\u0259ad\u0259t \u015e\u0131x\u0131yevan\u0131n \u00f6t\u0259n il “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 “Az\u0259rbaycan \u015feirinin q\u0259rib s\u0259hif\u0259l\u0259ri” ad\u0131 il\u0259 t\u0259qdim etdiyi silsil\u0259 yaz\u0131lar\u0131 milli \u0259d\u0259biyyat\u0131m\u0131z\u0131 b\u00fct\u00fcn t\u0259r\u0259fl\u0259ri il\u0259 g\u00f6rm\u0259y\u0259, tan\u0131ma\u011fa imkan yaradan m\u0259tnl\u0259r kimi estetik \u00f6z\u00fcn\u00fcd\u0259rk fakt\u0131d\u0131r. Orta \u0259srl\u0259r Az\u0259rbaycan \u015feirinin t\u0259dqiqi v\u0259 t\u0259bli\u011find\u0259 m\u00f6vcud probleml\u0259r\u0259 toxunan bu m\u0259qal\u0259l\u0259rd\u0259 S\u0259ad\u0259t xan\u0131m tutarl\u0131 faktlar, qaynaqlara istinad\u0259n anadilli Az\u0259rbaycan poeziyas\u0131n\u0131n divan v\u0259 f\u0259ls\u0259fi \u015feirinin b\u00fcn\u00f6vr\u0259sinin qoyulmas\u0131nda xidm\u0259tl\u0259ri olan h\u00fcrufi \u015fair R\u0259fii, Q\u0259nb\u0259ro\u011flu v\u0259 Xoca Dehhanid\u0259n Az\u0259rbaycan \u0259d\u0259biyyat\u0131n\u0131n n\u00fcmay\u0259nd\u0259l\u0259ri kimi b\u0259hs edir.
\nAnar\u0131n be\u015fcildliyinin ilk cildi kimi n\u0259\u015fr olunan “S\u00f6z d\u00fcnyas\u0131” kitab\u0131 b\u00fct\u00f6v \u0259d\u0259bi epoxan\u0131 \u0259yanil\u0259\u015fdir\u0259n yaz\u0131lar\u0131 i\u00e7in\u0259 almaqla konkret zaman g\u00f6r\u00fcnt\u00fcl\u0259rin\u0259 fokuslan\u0131r, burada \u0259d\u0259biyyat tarixi, klassika v\u0259 \u00e7a\u011fda\u015f n\u00fcmun\u0259l\u0259rin k\u0259sb etdiyi mahiyy\u0259t v\u0259 \u00f6l\u00e7\u00fcl\u0259r t\u0259c\u0259ss\u00fcml\u0259nir. Bel\u0259 d\u0259 olmal\u0131d\u0131r, Anar\u0131n s\u00f6z d\u00fcnyas\u0131 yazd\u0131qlar\u0131n\u0131n i\u00e7\u0259risind\u0259dir, onu ya\u015fatma\u011f\u0131n, bug\u00fcn\u00fcn ixtiyar\u0131na verm\u0259yin yolu bu m\u0259tnl\u0259rin c\u0259miyy\u0259tin intellektual dair\u0259l\u0259rind\u0259 rezonans\u0131n\u0131 v\u0259 m\u0259nas\u0131n\u0131 tapmas\u0131ndan ke\u00e7ir.
\n\u00d6t\u0259n il AMEA-n\u0131n m\u00fcxbir \u00fczv\u00fc Tehran \u018fli\u015fano\u011flunun t\u0259sis\u00e7isi v\u0259 ba\u015f redaktoru oldu\u011fu “T\u0259nqid.net” jurnal\u0131n\u0131n 12-ci say\u0131 (2016-2017) i\u015f\u0131q \u00fcz\u00fc g\u00f6rd\u00fc. “M\u00fcst\u0259qil Az\u0259rbaycan\u0131n m\u00fcst\u0259qil \u0259d\u0259biyyat\u0131 v\u0259 m\u00fcst\u0259qil \u0259d\u0259biyyat elminin 25 illiyin\u0259” h\u0259sr olunan jurnalda \u0259sas h\u0259d\u0259f cari \u0259d\u0259bi proses\u0259 m\u00fcxt\u0259lif aspekt v\u0259 bax\u0131\u015f bucaqlar\u0131ndan n\u0259z\u0259r yetirm\u0259k, m\u00fcst\u0259qilliyin yaratd\u0131\u011f\u0131 imkanlardan a\u00e7\u0131lan m\u0259nz\u0259r\u0259l\u0259ri, fikir v\u0259 ideya d\u00fcnyam\u0131z\u0131, d\u00fc\u015f\u00fcnc\u0259 arsenal\u0131m\u0131z\u0131 g\u00f6r\u00fckd\u00fcrm\u0259k idi.
\n\u00d6t\u0259n il \u0259d\u0259bi t\u0259nqidd\u0259 d\u0259 yubiley ab-havas\u0131 ya\u015fand\u0131. Mir C\u0259lal\u0131n 110 illiyi il\u0259 ba\u011fl\u0131 “Az\u0259rbaycan” jurnal\u0131n\u0131n d\u00f6rd\u00fcnc\u00fc say\u0131nda Nizami C\u0259f\u0259rov, \u0130ntiqam Qas\u0131mzad\u0259, N\u0259riman H\u0259s\u0259nzad\u0259 v\u0259 T\u0259yyar Salamo\u011flunun m\u0259qal\u0259l\u0259ri yer ald\u0131. Vaqif Yusifli, Az\u0259r Turan, Cavan\u015fir Yusifli, R\u00fcst\u0259m Kamal, M\u0259ti Osmano\u011flu, \u0130ntiqam Qas\u0131mzad\u0259nin yubiley ya\u015flar\u0131 \u00f6lk\u0259 m\u0259tbuat\u0131nda geni\u015f qeyd olundu. Ad\u0131ged\u0259n \u015f\u0259xsl\u0259rl\u0259 ba\u011fl\u0131 meydanda m\u00f6t\u0259b\u0259r s\u00f6z s\u0259sl\u0259ndirm\u0259k \u0259zmini d\u0259 el\u0259 t\u0259nqid\u00e7il\u0259rin \u00f6zl\u0259ri n\u00fcmayi\u015f etdirdi. Diqq\u0259t ed\u0259k: Elnar\u0259 Akimovan\u0131n “Vaqif Yusifli – \u0259d\u0259biyyat\u0131m\u0131z\u0131n isti qan\u0131”, “R\u00fcst\u0259m Kamal\u0131n \u0259d\u0259biyyat dili”, “M\u0259ti Osmano\u011flunun yadda\u015f v\u0259 zaman m\u0259tnl\u0259ri”, “Cavan\u015fir Yusifli – \u0259n g\u00f6z\u0259l tale adam\u0131”; \u0130rad\u0259 Musayevan\u0131n “\u018f\u015fyalar\u0131n ruhunu g\u00f6r\u0259n adam” (R\u00fcst\u0259m Kamal haqq\u0131nda), “\u0130ntiqam Qas\u0131mzad\u0259 v\u0259 yaxud: sonuncular…”, “\u018fd\u0259bi t\u0259nqidimizd\u0259 Vaqif Yusiflinin yeri”; R\u00fcst\u0259m Kamal haqq\u0131nda Nizami C\u0259f\u0259rovun “Miqyasl\u0131 v\u0259 obyektiv”, Az\u0259r Turan\u0131n “B\u00f6y\u00fck sirrin yenid\u0259n oxunu\u015fu”, M\u0259ti Osmano\u011flunun “S\u00f6z\u00fcn o \u00fcz\u00fcnd\u0259ki ger\u00e7\u0259k”, Tehran \u018fli\u015fano\u011flunun “R\u00fcst\u0259m Kamal haqq\u0131nda x\u0259yalat”; M\u0259ti Osmano\u011flu haqq\u0131nda R\u00fcst\u0259m Kamal\u0131n “\u018fd\u0259biyyat\u0131n dilini bil\u0259n adam”; Az\u0259r Turan haqq\u0131nda R\u00fcst\u0259m Kamal\u0131n “Az\u0259r Turan h\u0259qiq\u0259ti”, Vaqif Yusiflinin “T\u00fcrk d\u00fc\u015f\u00fcnc\u0259sinin irfan \u00e7oban\u0131” m\u0259qal\u0259l\u0259ri v\u0259 s. \u0259d\u0259bi t\u0259nqidin daha \u00e7ox t\u0259hlil v\u0259 m\u00fcqayis\u0259 m\u0259qamlar\u0131n\u0131 \u00f6n\u0259 \u00e7\u0259km\u0259kl\u0259 b\u0259rab\u0259r, d\u00fcn\u0259nl\u0259 bug\u00fcn\u00fcn t\u0259cr\u00fcb\u0259l\u0259rinin qar\u015f\u0131la\u015fd\u0131r\u0131lmas\u0131n\u0131n \u00fcz\u0259rin\u0259 vur\u011fu salmaq, \u0259d\u0259biyyat tarixi, t\u0259nqid, \u0259d\u0259bi proses bar\u0259d\u0259 daha geni\u015f elmi-n\u0259z\u0259ri t\u0259s\u0259vv\u00fcrl\u0259r \u0259ld\u0259 etm\u0259k c\u0259hdi il\u0259 \u00f6n\u0259mli g\u00f6r\u00fcn\u00fcrl\u0259r.
\nKamal Abdulla \u00f6t\u0259n ild\u0259n ba\u015flayaraq “\u018fd\u0259biyyat q\u0259zeti”nd\u0259 \u00e7ap etdirdiyi “\u018fvv\u0259l-ax\u0131r yaz\u0131lanlar” essesi il\u0259 janr\u0131n dinamikliyinin qorunmas\u0131n\u0131 t\u0259min edir. O, narrativi mifin, Antik d\u00f6vr m\u0259d\u0259niyy\u0259tinin i\u00e7ind\u0259 qurur, n\u0259z\u0259r n\u00f6qt\u0259sini h\u0259min qatdan m\u00fcxt\u0259lif d\u00f6vrl\u0259rin \u0259d\u0259biyyat\u0131na v\u0259 \u015f\u0259xsiyy\u0259tl\u0259rin\u0259, dey\u0259k ki, F\u00fczuli, Cavid, \u018f.Haqverdiyev s\u0259n\u0259tinin f\u0259ls\u0259fi-estetik mahiyy\u0259tin\u0259 adladaraq psixi-alt\u015f\u00fcur, duy\u011fu-t\u0259\u0259ss\u00fcrat laylar\u0131na, mistik \u00e7evr\u0259l\u0259r\u0259 daxil olma\u011fa, yarad\u0131c\u0131 \u015f\u00fcur, t\u0259x\u0259yy\u00fcl \u00fcz\u0259rind\u0259 k\u0259\u015ffl\u0259r aparma\u011fa \u00e7al\u0131\u015f\u0131r.
\n\u018flb\u0259tt\u0259, indi esse janr\u0131n\u0131n inki\u015faf\u0131 il\u0259 ba\u011fl\u0131 problem yoxdur. \u018fksin\u0259, daha \u00e7ox \u015fax\u0259l\u0259nib, m\u00f6vzu v\u0259 \u0259hat\u0259 spektri geni\u015fl\u0259nib, estetikas\u0131 v\u0259 poetik bi\u00e7imi d\u0259yi\u015fib. \u0130ndi h\u0259r hans\u0131 \u0259s\u0259rin, filmin t\u0259hlili daha \u00e7ox esse janr\u0131n\u0131n t\u0259l\u0259bl\u0259ri \u00e7\u0259r\u00e7iv\u0259sind\u0259 ba\u015f tutur. M\u0259s\u0259l\u0259n, t\u0259nqidin bax\u0131m t\u0259rzi, rakursunu, ifad\u0259-dil m\u0259nz\u0259r\u0259sini yeniliy\u0259 k\u00f6kl\u0259y\u0259n M\u0259tan\u0259t Vahidi, \u00dclvi Babasoyu, son instansiyada – \u0259d\u0259biyyatda yeni olmas\u0131na baxmayaraq d\u00fc\u015f\u00fcnm\u0259 v\u0259 ifad\u0259olunma t\u0259rzin\u0259 g\u00f6r\u0259 se\u00e7il\u0259n Cahan Seyidzad\u0259ni, R\u0259van Cavidi, Orxan H\u0259s\u0259nini g\u00f6st\u0259r\u0259 bil\u0259rik ki, yaz\u0131lar\u0131nda s\u0259n\u0259t, m\u0259tn, s\u00f6z\u00fcn v\u0259 insan\u0131n taleyi haqq\u0131nda f\u0259ls\u0259fi \u00e7evr\u0259 yarad\u0131r, bug\u00fcn\u00fcn n\u00f6qteyi-n\u0259z\u0259ri, praqmatikas\u0131 bax\u0131m\u0131ndan \u015f\u0259rhin\u0259 var\u0131rlar.
\nSon zamanlar yaz\u0131\u00e7\u0131lar\u0131m\u0131z\u0131n \u00f6lk\u0259mizd\u0259n k\u0259narda qazand\u0131\u011f\u0131 u\u011furlar \u0259d\u0259biyyat\u0131m\u0131z\u0131n t\u0259bli\u011fi bax\u0131m\u0131ndan \u00e7ox \u0259h\u0259miyy\u0259tlidir. Varisin Rusiya Federasiyas\u0131n\u0131n So\u00e7i \u015f\u0259h\u0259rind\u0259 Avrasiya materikinin “LiFFt-2018” \u0259d\u0259biyyat \u00fczr\u0259 \u00fc\u00e7\u00fcnc\u00fc festivallar festival\u0131n\u0131n ba\u015f m\u00fckafat\u0131na layiq g\u00f6r\u00fclm\u0259si sevindirici faktlardand\u0131r. Kamran N\u0259zirli ill\u0259rdir Belarus il\u0259 qar\u015f\u0131l\u0131ql\u0131 \u0259m\u0259kda\u015fl\u0131\u011f\u0131 davam etdirir. Yaz\u0131\u00e7\u0131lar\u0131m\u0131z\u0131n \u0259s\u0259rl\u0259ri T\u00fcrkiy\u0259, Moskva, Misir, Almaniya, Amerika v\u0259 ba\u015fqa h\u00fcdudlarda \u00e7ap olunur. El\u00e7inin “Ba\u015f” roman\u0131 Misird\u0259 n\u0259\u015fr edildi. Sabir R\u00fcst\u0259mxanl\u0131n\u0131n \u00f6t\u0259n il iki kitab\u0131 Almaniyada \u00e7ap olundu. Q\u0259\u015f\u0259m N\u0259c\u0259fzad\u0259nin Moskvada m\u00fcxt\u0259lif dill\u0259rd\u0259 kitablar\u0131 i\u015f\u0131q \u00fcz\u00fc g\u00f6rd\u00fc. G\u0259nc \u015fairl\u0259r – F\u0259rid H\u00fcseynin \u00f6t\u0259n il \u00e7ap olunmu\u015f “S\u0259m\u0259rq\u0259nd divan\u0131”n\u0131n \u00d6zb\u0259kistanda ke\u00e7irilmi\u015f t\u0259qdimat\u0131 poetik fikrimizin yay\u0131lma areal\u0131n\u0131n geni\u015fl\u0259nm\u0259sin\u0259 \u015fahidlik ed\u0259n n\u00fcmun\u0259dir. \u0130ntiqam Ya\u015far, Tural Turan\u0131n \u00d6zb\u0259kistanla qurdu\u011fu \u0259laq\u0259 v\u0259 bu \u0259laq\u0259l\u0259rin davaml\u0131 olmas\u0131n\u0131 g\u00f6st\u0259r\u0259n x\u0259b\u0259rl\u0259rin t\u0259qdimi yeni n\u0259sil \u0259d\u0259biyyat\u0131m\u0131z\u0131n sabah\u0131 il\u0259 ba\u011fl\u0131 perspektiv v\u0259d edir.
\nAmma bu m\u0259qamda bir m\u0259s\u0259l\u0259y\u0259 toxunma\u011f\u0131n yeri var, d\u00fc\u015f\u00fcn\u00fcr\u0259m. D\u00fcnyan\u0131n h\u0259r yerind\u0259 m\u0259nb\u0259 kimi q\u0259bul olunan n\u0259z\u0259riyy\u0259 kitablar\u0131 m\u00f6vcuddur. Bizd\u0259 is\u0259 bel\u0259 kitablar\u0131n t\u0259rc\u00fcm\u0259si h\u0259l\u0259 meydanda yoxdur. El\u0259c\u0259 d\u0259 milli \u0259d\u0259biyyat\u0131m\u0131zda se\u00e7il\u0259n elmi-n\u0259z\u0259ri m\u0259tnl\u0259rin, d\u00fcnya \u0259d\u0259bi-f\u0259ls\u0259fi c\u0259r\u0259yanlar\u0131n t\u0259hlilini ver\u0259n m\u0259qal\u0259l\u0259rin, d\u00fc\u015f\u00fcnc\u0259 v\u0259 fikir intibas\u0131 yaradan n\u00fcmun\u0259l\u0259rin t\u0259rc\u00fcm\u0259 edilib Q\u0259rb\u0259 inteqrasiyas\u0131n\u0131 stimulla\u015fd\u0131rmaq g\u00f6z\u0259l olmazm\u0131? T\u0259rc\u00fcm\u0259 M\u0259rk\u0259zimiz bu c\u00fcr vacib m\u0259qamlar\u0131 n\u0259z\u0259r\u0259 alsa, elmi-n\u0259z\u0259ri arsenal\u0131m\u0131z\u0131n s\u0131n\u0131rlar\u0131n\u0131 geni\u015fl\u0259ndirmi\u015f olar. M\u0259s\u0259l\u0259n, bu yax\u0131nlarda “Alatoran” yay\u0131nlar\u0131nda Qorxmaz Quliyevin t\u0259rc\u00fcm\u0259sind\u0259 Mi\u015fel Fukonun “S\u00f6zl\u0259r v\u0259 n\u0259sn\u0259l\u0259r” (Numanitar elml\u0259rin<\/p>\n

arxeologiyas\u0131) kitab\u0131 i\u015f\u0131q \u00fcz\u00fc g\u00f6rd\u00fc. Bu, \u0259sl m\u0259d\u0259niyy\u0259t hadis\u0259sidir. Pe\u015f\u0259kar \u0259s\u0259r, pe\u015f\u0259kar t\u0259rc\u00fcm\u0259 v\u0259 s\u0259viyy\u0259li n\u0259\u015fr! Bel\u0259 t\u0259rc\u00fcm\u0259l\u0259ri m\u00fcmk\u00fcn q\u0259d\u0259r \u00e7oxaltmaqla \u0259d\u0259biyyata s\u0259m\u0259r\u0259 ver\u0259 bil\u0259rik. Yoxsa “d\u00fcnya \u0259d\u0259biyyat\u0131” deyib\u0259n bir ox \u0259traf\u0131nda firlanmaqla deyil ki. G\u0259r\u0259kdir ki, bunun \u00e7a\u011fda\u015fl\u0131\u011f\u0131n\u0131, t\u0259zah\u00fcrl\u0259rini d\u0259 ver\u0259s\u0259n.
\nM\u00fcxt\u0259lif dill\u0259r\u0259 t\u0259rc\u00fcm\u0259d\u0259n dan\u0131\u015fd\u0131q. H\u0259m d\u0259 \u0259d\u0259biyyat\u0131n dili birdir, deyirik. T\u0259rc\u00fcm\u0259nin vacibliyi d\u0259 bu birg\u0259liyi duymaq, ortaq estetik m\u0259hv\u0259rd\u0259 g\u00f6r\u00fc\u015fm\u0259k \u00fc\u00e7\u00fcn vacibdir. 1982-ci ild\u0259 Bak\u0131da ke\u00e7iril\u0259n m\u0259\u015fhur beyn\u0259lxalq konfrans\u0131n ad\u0131 bel\u0259 adlan\u0131rd\u0131: “\u018fd\u0259biyyat\u0131n dostlu\u011fu, xalqlar\u0131n dostlu\u011fudur”! Bu fikir \u0259b\u0259didir, he\u00e7 zaman g\u00fcc\u00fcn\u00fc itirm\u0259y\u0259c\u0259k. \u00d6t\u0259n il Karlos Fuentesin bel\u0259 bir fikrini oxumu\u015fdum: “\u018fg\u0259r m\u0259n \u00f6z m\u0259d\u0259niyy\u0259timin bacard\u0131\u011f\u0131 h\u0259r bir \u015fey\u0259, \u0259sas\u0259n d\u0259 m\u0259qs\u0259dl\u0259rin\u0259, f\u0259aliyy\u0259tin\u0259 ba\u011fl\u0131yamsa, onda sivilizasiyalar\u0131n toqqu\u015fmas\u0131 eras\u0131nda ya\u015fay\u0131r\u0131q tezisini q\u0259bul ed\u0259 bilm\u0259r\u0259m. \u00c7\u00fcnki beynimd\u0259ki b\u00fct\u00fcn sivilizasiyalar m\u0259nimdir. Onlar dala\u015fm\u0131rlar, dan\u0131\u015f\u0131rlar, bir-biril\u0259 s\u00f6hb\u0259tl\u0259\u015firl\u0259r, ruhumun lap d\u0259rinlikl\u0259rind\u0259 \u00fcnsiyy\u0259t qurur, h\u0259m sevincin, h\u0259m d\u0259 k\u0259d\u0259rin nisbiliyini, geri d\u00fc\u015fs\u0259 d\u0259, h\u0259mi\u015f\u0259 m\u00f6vcud olacaq olan\u0131 (m\u0259nim q\u0259dimi Yerli v\u0259 \u0130slam m\u0259d\u0259niyy\u0259tl\u0259rimi) qucaqlay\u0131r, \u00f6z\u00fcn\u00fc \u0259b\u0259di sayana (varl\u0131\u011f\u0131m\u0131n q\u0259rbli, xristian izl\u0259rini) sahib \u00e7\u0131x\u0131rlar. V\u0259 b\u00fct\u00fcn bunlar\u0131n g\u00f6r\u00fc\u015fd\u00fcy\u00fc n\u00f6qt\u0259l\u0259ri – ham\u0131m\u0131z\u0131n i\u00e7ind\u0259ki s\u00f6z, d\u00fc\u015f\u00fcnc\u0259, yadda\u015f v\u0259 fantaziyaya xeyir-dua verm\u0259yin laz\u0131ml\u0131l\u0131\u011f\u0131n\u0131 anlamaq \u00fc\u00e7\u00fcn m\u00fcbahis\u0259 edirl\u0259r. Bizd\u0259n ist\u0259yirl\u0259r ki, sivilizasiyalar\u0131n dialoquna qo\u015fulaq v\u0259 tarixin sonunu inkar ed\u0259k. Biz son s\u00f6z\u00fcm\u00fcz\u00fc s\u00f6yl\u0259m\u0259dikc\u0259, tarix nec\u0259 sona \u00e7ata bil\u0259r?”.
\n\u018fd\u0259biyyat tarix v\u0259 insan\u0131n “son” problematikas\u0131ndan qurtulmas\u0131 \u00fc\u00e7\u00fcn var olmal\u0131d\u0131r! H\u0259r \u015feyin bir sonu olsa da, tarixin sonu m\u0259d\u0259niyy\u0259t yaradanlar\u0131n \u0259li il\u0259 dayand\u0131r\u0131la bil\u0259r! \u00c7\u00fcnki Romen Rollana inansaq, “yaratmaq \u00f6l\u00fcm\u00fc \u00f6ld\u00fcrm\u0259k dem\u0259kdir”!<\/p>\n

M\u0259nb\u0259: http:\/\/www.edebiyyatqazeti.az<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Yola sald\u0131\u011f\u0131m\u0131z 2018-ci il daha \u00e7ox C\u00fcmhuriyy\u0259t ili kimi yadda qald\u0131. \u015e\u0259rqd\u0259 ilk demokratik respublika kimi \u00f6z yerini tutmu\u015f Az\u0259rbaycan C\u00fcmhuriyy\u0259tinin 100 illiyinin 2018-ci ild\u0259 geni\u015f qeyd edilm\u0259si m\u0259qs\u0259dil\u0259 il boyu t\u0259dbirl\u0259r ke\u00e7irildi, silsil\u0259 m\u0259qal\u0259l\u0259r yaz\u0131ld\u0131, konfranslar t\u0259\u015fkil olundu. C\u00fcmhuriyy\u0259t qurucular\u0131n\u0131n h\u0259r birinin yad edilm\u0259si, xidm\u0259tl\u0259rinin \u00f6n\u0259ms\u0259nilm\u0259si bax\u0131m\u0131ndan bu t\u0259dbirl\u0259rin m\u00fcst\u0259sna rolu oldu. \u00d6t\u0259n il […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-32441","post","type-post","status-publish","format-standard","hentry","category-pub"],"_links":{"self":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/32441","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32441"}],"version-history":[{"count":1,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/32441\/revisions"}],"predecessor-version":[{"id":32444,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=\/wp\/v2\/posts\/32441\/revisions\/32444"}],"wp:attachment":[{"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32441"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32441"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/edebiyyat-az.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}