‫الحياة جميلة يا رفيقي

Romanlar #3

by Nâzım Hikmet, ناظم حكمت, أحمد مراد (Translator)

"تقدم هذه الرواية صفحات من السيرة الذاتية للشاعر التركي اليساري "ناظم حكمت"، يعرض الشاعر فيها يوميات الحياة في موسكو.. أيام الجامعة وايام المنفى؛ ذكريات الهروب من الشرطة؛ مخاوف الانسان من الموت بعيدا عن وطنه، ذكريات المناضل والمحرض الاجتماعي، قبلات الشاب الاولى؛ ساعات الحمى ولحظات الحب المسروقة.. انها رواية السيرة الذاتية كما لم نقراها من قبل

Genres: Turkish Literature, Fiction, Turkish, Roman, Poetry, Classics, Literature

541 pages, Kindle Edition

First published January 1, 1964

About the author

Nazim Hikmet was born on January 15, 1902 in Salonika, Ottoman Empire (now Thessaloníki, Greece), where his father served in the Foreign Service. He was exposed to poetry at an early age through his artist mother and poet grandfather, and had his first poems published when he was seventeen.

Raised in Istanbul, Hikmet left Allied-occupied Turkey after the First World War and ended up in Moscow, where he attended the university and met writers and artists from all over the world. After the Turkish Independence in 1924 he returned to Turkey, but was soon arrested for working on a leftist magazine. He managed to escape to Russia, where he continued to write plays and poems.

In 1928 a general amnesty allowed Hikmet to return to Turkey, and during the next ten years he published nine books of poetry—five collections and four long poems—while working as a proofreader, journalist, scriptwriter, and translator. He left Turkey for the last time in 1951, after serving a lengthy jail sentence for his radical acts, and lived in the Soviet Union and eastern Europe, where he continued to work for the ideals of world Communism.

After receiving early recognition for his patriotic poems in syllabic meter, he came under the influence of the Russian Futurists in Moscow, and abandoned traditional forms while attempting to “depoetize” poetry.

Many of his works have been translated into English, including Human Landscapes from My Country: An Epic Novel in Verse (2009), Things I Didn’t Know I Loved (1975), The Day Before Tomorrow (1972), The Moscow Symphony (1970), and Selected Poems (1967). In 1936 he published Seyh Bedreddin destani (“The Epic of Shaykh Bedreddin”) and Memleketimden insan manzaralari (“Portraits of People from My Land”).

Hikmet died of a heart attack in Moscow in 1963. The first modern Turkish poet, he is recognized around the world as one of the great international poets of the twentieth century.

Reviews

[Sawsan · Rating 3 out of 5]

يحكي ناظم حكمت الشاعر التركي سيرته الذاتية, حياته الاجتماعية والسياسية
بعد اعتناقه للماركسية مُنعت أشعاره في تركيا, وقُبض عليه وقضى في السجن فترة طويلة إلى أن استطاع الهروب إلى موسكو
أشعاره ساندت كل المناضلين والثوريين في أنحاء العالم, واضح فيها اهتمامه بقضايا الحرية والعدالة
ورغم المعاناة في حياته كان يرى أن العيش في الحياة شيء رائع
أسلوب ناظم حكمت في السرد غريب- نوه عنه المترجم بأنه أسلوب جديد
فهو يحكي حياته مقسمة على شخصيتين من شخصيات الرواية وينتقل في المكان وفي الأحداث بشكل مفاجئ

[Jim Fonseca · Rating 3 out of 5]

A fascinating quasi-autobiographical tale of what it was like for a young Turkish man to be a fervent believer in Bolshevism in the early 1920’s through 1930’s. The main character was selected to study in Moscow which he portrays as mini-United Nations as the Communists tried to spread their ideology throughout the world by educating future leaders from Third World countries.



He returns to Turkey to set up an underground press to agitate to overthrow the dictatorship at the time, as his predecessors, the true “Young Turks” had tried shortly before. He and his cohorts are imprisoned and tortured for their efforts but they don’t give up.

The book is chronologically structured around a dog bite that the protagonist receives from a possibly rabid dog which begins a 40-day countdown to his likely death. He can’t get medical aid because he is a wanted man. While on this death watch, he reflects on his heady days in Moscow; his love affair with a Russian woman; homesickness, and the deaths and executions of his compatriots.

The author, a classic Turkish poet, writes in an unusual style, alternating the use of the first and third person in the same paragraph. The book, translated from Turkish, is relatively short (185 pages) and it held my attention but more as a lively history book than as a novel.



The author (1902-1963) was known mainly as a poet. His best-known work in English is Human Landscapes from My Country: An Epic Novel in Verse. Like the main character in the semi-autobiographical novel reviewed, he spent his life alternating between living in Turkey and in the USSR. As a leader of the communist party in Turkey, he spent much time in Turkish prisons.

Top photo: women getting their shoes shined in Istanbul around 1940 from weloveist.com
The author from Wikipedia

Revised, pictures added 3/3/23

[Maria Bikaki · Rating 3 out of 5]

Το κύκνειο άσμα του Ναζίμ Χικμέτ. Λίγο πριν το τέλος απευθυνόμενος στον αδερφό του γράφει το πρώτο και τελευταίο του μυθιστορηματικό κείμενο κάνοντας μια αναπόληση της ζωής του την οποία και πέρασε μεταξύ της αγάπης του για την ποίηση και της επανάστασης.
Ευρισκόμενος στις τελευταίες μέρες της ζωής του αναπολεί τις μέρες του στη Ρωσία, τις συνέπειες που είχε η επανάσταση και φυσικά τον έρωτα του για μια ρωσίδα. Σκηνικά πολέμου, εξοντώσεις ανθρώπων και φυσικά στη μέση η Αννούσκα. Με ένα αρκετά έξυπνο κατά τη γνώμη μου τρικ ως προς την αφήγηση όπου στη μία παράγραφο αναγράφονται αυτά που λένε οι χαρακτήρες και στην αμέσως επόμενη αυτά που σκέφτονται πράγμα που μου θύμισε λίγο ακριβώς τον τρόπο που λειτουργεί λίγο το ανθρώπινο μυαλό με χιλιάδες ασυνάρτητες πολλές φορές σκέψεις να μαζεύονται στο μυαλό μας και κάποια στιγμή λες και όλες αυτές γίνονται μία. Οι ποιητικές του καταβολές εμφανείς σε σημείο μάλιστα που στιγμές νομίζεις ότι διαβάζεις μια αράδα ποιητικών στίχων και όχι τη συνέχεια ενός μυθιστορήματος ενώ τέλος σημαντική θέση φαίνεται να καταλαμβάνει το έργο ο χρόνος το οποίο γίνεται αντιληπτό και από το γεγονός ότι η αφήγηση του Χικμέτ περιλαμβάνει ιστορίες που λαμβάνουν χώρα σε διαφορετικές χρονικές περιόδους ενώ και ίδιος λίγο πριν την δύση της ζωής του ξαναμετρά το χρόνο και ζητά λίγο χρόνο ακόμα γιατί τελικά η ζωή είναι όμορφη ακόμα και μέσα από τις άσχημες στιγμές της.
Χρησιμοποιώντας αυτοβιογραφικά στοιχεία στην πραγματικότητα σκιαγραφεί μια ολόκληρη εποχή που αγωνίστηκε για ένα καλύτερο αύριο, για μια πιο όμορφη ζωή.
Αποφάσισε αγόρι μου, λέω στον εαυτό μου, αποφάσισε. Ελήφθη η απόφαση. Θάνατος παρά επιστροφή. Στάσου, μη βιάζεσαι, γιε μου. Να θέσουμε τα ερωτήματα πάνω σε αυτό το τραπέζι, δίπλα στην Ανατολία. Τι μπορείς να δώσεις; Τα πάντα, τα πάντα μου... Ναι, την ελευθερία σου! Πόσα χρόνια μπορείς να μείνεις στη φυλακή γι' αυτό το σκοπό; Εάν χρειαστεί, για όλη μου τη ζωή. Καλά, όμως εσύ αγαπάς το καλό φαγητό, το ποτό, τα καθαρά ρούχα. Λαχταράς να ταξιδέψεις στην Ευρώπη, στην Αμερική, στην Αφρική. Εάν εγκαταλείψεις την Ανατολία πάνω στο ροκοκό τραπέζι στο Μπατούμι κι επιστρέψεις στην Άγκυρα μέσω Τιφλίδας, του Καρς, σε πέντε έξι χρόνια το αργότερο θα είσαι βουλευτής, υπουργός, θα απολαμβάνεις γυναίκες, φαγητά, ποτά, τέχνη, τον κόσμο... Παράτα τα! Μπορώ να μείνω στη φυλακή για όλη μου τη ζωή
Ακόμα και ο θάνατος δεν είναι θεοσκότεινος, ακόμα και ο θάνατος δεν είναι οδύνη. Που τρέχει ο έφιππος? Τις Περισσότερες φορές στο θάνατο. Αλλά για μια ζωή πιο όμορφη, πιο δίκαιη, πιο γεμάτη, πιο βαθιά.

[Aya Hisham · Rating 3 out of 5]

هل من الممكن أن تتأثر كمصري سنة 2023 برواية أو سيرة عن مناضلين شيوعيين أتراك و تدور أحداثها في النصف الأول من القرن الماضي؟!
و الإجابة هي نعم! أما كلمة السر في تفسير هذا فهي: ثورة يناير، أو سنوات الجري في المكان كما لقبتها "نورا ناجي" في روايتها الأخيرة.
تتسأل و انت تقرأ الكتاب "كان عليهم بأيه من ده كله؟! " و كيف انتهي نضالهم هذا و ماذا حققوا. و هل الإيمان بفكرة أو مبدأ يستحق كل هذه التضحيات؟! تضحيات اتضح انها عدمية في النهاية؟! فلا الأمور تغيرت و لا المجتمع ثار و انتفض و بقي كل شيء علي حاله، فقط تخربت حياتك انت و حياة كل من أحببت.
أكره إضفاء أي بعد رومانسي للسجون و عذابات المعتقلين، فهم بشر فقدوا كل شيء و ضحوا بكل شيء من اجل مبدأ، و لم يجنوا شيء في النهاية و لم يروا التغيير، بل و نساهم الناس و ملوا حكاياتهم. فقط جنوا الهباء..

[Dionisis Karachalios · Rating 4 out of 5]

Ναζίμ Χικμέτ,ένας υπέροχος υμνητής της αγάπης για τον άνθρωπο.Βλέπει,η ανθρωπιά να χάνεται στην ομίχλη της εθνικιστικής μισαλλοδοξίας,για αυτή την ανθρωπιά ο ίδιος αγωνίστηκε σε όλη του τη ζωή να την βγάλει στο φως μέσα από τα έργα του.Εκφράζει μία αισιοδοξία ακόμα και σε εξορίες,φυλακές,βασανιστήρια,κάτω από αντίξοες συνθήκες.Με έναν απλό και κατανοητό λόγο ενθαρρύνει και εμπνέει πως υπάρχει ένα μέλλον καλύτερο.

[Roger Brunyate · Rating 4 out of 5]

Pronouns and Tenses

The servant girl led the way and Ahmet followed. They entered the courtyard. It was big, dark, and cool. But why does the girl walk on tiptoes? Is someone sick in the house? Then, before I know it, I'm walking like her, damn it, as if afraid of waking someone. Ahmet started clacking his metal heeltaps. Just to make a point.

The opening paragraph of this novel-memoir by distinguished Turkish poet Nâzim Hikmet, written from exile in Russia in 1962, already illustrates several key aspects of the book. First, it is full of images that are simple but very clear. Second, it switches rapidly between a third-person description of a young man called Ahmet, and the first-person observer, the author but also Ahmet, looking back at a remove. And third, it moves between the present tense and the past; the one thing that this excerpt does not show is how it occasionally shifts into the future also.

Given that it moves backwards and forwards in time with constantly shifting perspectives, this is not an easy book to get into. It may help to realize that one anchoring sequence, coming and going throughout the book, is set in a cottage in Izmir in 1925, where Ahmet is living with a friend named Ismail, preparing to set up a clandestine printing press to distribute communist literature. Ahmet has been bitten by a dog, and rather than risk almost certain capture by going to hospital in Istanbul, he elects to remain in hiding for the month-long incubation period to see if he has rabies. Another continuing sequence, interleaved with that, shows him as a student in Moscow in the early twenties, where he falls in love with the enigmatic and fiercely independent Anyuska. Other episodes appear to be scenes from his childhood, or flashes forward to various later imprisonments and excruciating tortures.

But nothing is clearly signposted. Though cerebral, the introduction by translator Mutlu Konuk Blasing helps, but I found I had to go back and reread it in the middle of the novel before either it or the book made much sense. Of course, everything was made more difficult by my scanty knowledge of Turkish history and relative unfamiliarity with proper names and honorifics. But I was stimulated by Hikmet's unique approach to storytelling, and, as I said, by many of his images. I got a real feeling for the Anatolian countryside, for the heady days of youthful communist fervor, for impassioned argument and shy but passionate love. There is a palpable sense of being a wanted man and suffering for one's beliefs. And there are a few set pieces, such as the reaction in Moscow to the death of Lenin, or a provincial performance of Othello in which all but the two leading characters were improvising, which are truly splendid. All in all, not bad recompense for a most demanding book.

[সারস্বত · Rating 4 out of 5]

নাজিম হিকমত!

মনে থাকবে তো নামটা? অন্তত যারা কবিতা ভালোবাসেন তারা এই নামটি যেন আর কখনো ভুলবেন না।

একজন কবি একটি গোটা দেশের কবিতাকে পুরো এক শতাব্দী এগিয়ে নিয়ে গেছেন। দেশটি ��াম তুরস্ক, কবির নাম নাজিম হিকমত।

শুধুমাত্র কবিতা লেখার অভিযোগে, কবিতা ও লেখায় নিপীড়িত মানুষের কথা বলার অভিযোগে জীবনের অর্ধেকটা জুড়ে কাটিয়েছেন জেলে। প্রতিবার কবি জেলে গেছেন আবার ফিরে এসে কাজ করেছেন শোষণ আর শোষকের প্রতিবাদে।

লেনিনিস্ট হিকমত সারাটা জীবন উৎসর্গ করে মানুষের জন্য। তাঁর লেখায় ফুটে উঠেছে ক্রোধ, অন্যায়ের প্রতিবাদে আক্রোশ।

'মানুষের মুন্ডুটা তো বোঁটার ফুল নয়,ইচ্ছে করলেই ছিঁড়ে নেবে।'

কি সহজ অথচ দুঃসাহসী উচ্চারণ। কী অপরিসীম বিশ্বাস মানুষের প্রতি। ' তিনি আরও বলেছিলেন, "দুঃসময় থেকে সুসময়ে মানুষ পৌঁছে দেবে মানুষকে"

সেই অমিত প্রতিভা আর সাহসী কবি ও লেখকের শেষ উপন্যাস জীবন বড় সুন্দর, ব্রাদার। গতানুগতিক ধারা থেকে সম্পূর্ণ আলাদা ধাঁচে লেখা হয়েছে উপন্যসটি। কখনো উত্তম পুরুষে আবার কখনো একই সাথে নামপুরুষে। উপন্যাসটির দুটি কেন্দ্রীয় চরিত্র আহমেদ এবং ইসমাইল। দুই চরিত্রই ব্যক্তিত্বে সম্পূর্ণ আলাদা। কিন্তু দুটি চরিত্রেই যেন লেখক হিকমতের জীবনের প্রতিচ্ছবি।

উপন্যাসটি শুরুতে একটি গোপন কমিউনিষ্ট কার্যক্রমে আহমেদ আসে ইসমাইলের কাছে। একসময় একটি কুকুর আহমেদকে কামড়ে। আহমেদের কি তাহলে জলাতঙ্ক হবে? জলাতঙ্কে একজন মানুষ পুরোপুরি উন্মাদ হতে ৪০ দিন সময় নেয়। আহমেদ দেয়ালে দাগ কেটে দিন গুনতে শুরু করে। মৃত্যুর আর জীবনের মাঝের ৪০ দিন। দিন যায়। এক দাগ, দুই দাগ, তিন দাগ...

প্রতিদিন আহমেদ দাগ কাটে আর মস্কো ইউনিভার্সিটিতে পড়াকালের স্মৃতিতে নিজেকে আর নিজের প্রেমিকাকে দেখতে পায়। আনুশকার। তুর্কি আহমেদ আর চীনা সি-ইয়া-উ একই সাথে প্রেমে পড়ে আনুশকার। আনুশকা কি সত্যি শুধু আহমেদকে ভালোবেসেছিল? জানা যায়নি। মেয়ে হৃদয়ের তল পাবে পুরুষের সেই সামর্থ্য কোথায়?

কিন্তু শুধু ইসমাইলকে ভালোবেসেছিল স্ত্রী নুরিমান। উফ! কি অসহ্য সুন্দর ভালোবাসা! কি আত্নত্যাগ! কি অপেক্ষা! একজন নারী যখন একজন পুরুষকে উজাড় করে ভালোবাসে তাঁর ভালোবাসায় যেন স্বয়ং ঈশ্বর এসে বাস করেন। দিনের পর দিন ইসমাইল জেলে বন্দী থাকে আর দিনের পর দিন নুরিমান ইসমাইলের অপেক্ষা করে। যখন যে শহরে নিজে যায় ইসমাইলকে নুরিমান সেই শহরে চলে যায়। কখনো দেখা পায়। কখনো দেখা পায়। কিন্তু নুরিমানে ভালোবাসা হোঁচট খায়না। সবকিছু মেনে, সবকিছু গ্রহণ করে নুরিমান ইসমাইলকে বলে, জীবন বড় সুন্দর, ব্রাদার।

হিকমত মানে প্রজ্ঞা। হিমকত মানে দূরদর্শিতা। নাজিম হিকমত নিজের নামের সাথে যে সুবিচার করে গেছেন সেটা সম্ভবত খুব কম মানুষই করে যেতে পেরেছেন। পাবলো নেরুদার সাথে হিকমত যৌথভাবে নোবেল শান্তি পুরস্কার পান।

শেষ পর্যন্ত উনি নিজের দেশ তুরস্কে থাকতে পারেননি। তুর্কি সরকার কবিত নাগরিকত্ব কেড়ে নেয়। জীবনের শেষ দিন পর্যন্ত উনি নিজের দেশে ফিরে আসতে চেয়েছিলেন। তাঁর ইচ্ছা পূরণ হয়নি কিন্তু প্রতিবার উনার দেশের ফেবার আবেদন প্রত্যাখ্যাত হয়। অবশেষে ৬২ বছর বয়সে কবি নাজিম হিকমত পৃথিবী ছেড়ে বিদায় নেন। কবিকে মস্কোয় সমাহিত করা হয়।

তবে অনেক বছর পরে নাজিম হিকমতের কিছু অনুসারি তাঁর কবরে, শিয়রের কাছে একটি তুর্কি বৃক্ষ রোপণ করে।

[Nihan D. · Rating 5 out of 5]

Roman serisinin 3. kitabı. Cumhuriyet'in kuruluş tarihinden sonraki yıllarda geçiyor. 3 komünist arkadaş, İsmail, Ahmet ve Kerim önce Moskova'da öğrenimlerini görüp sonra İstanbul'a dönüyorlar. Ama İstiklal Mahkemeler'i tarafından aranıyorlar. Bu sebeple gizlendikleri evde Ahmet'i bir köpek ısırıyor. Sonra öğreniyorlar ki köpek kuduz olabilirmiş. Kuduzun belirtileri de toplam 40 gün sürermiş. Ahmet geçen her gün için duvara bir çentik atıyor.

Tıpkı İsmail'in seneler önce yakalanıp sorguya çekildiği hücresinde duvara attığı çentikler gibi. Ve Ahmet'in Moskova'dayken sevdiği kadınla geçireceği son günlerin hesabını yapmak için duvara kazıdığı çizgiler gibi. Çizgiler ortak bir dil gibi sanki, farklı zamanlarda farklı niyetler için çizilmiş olsalar da sebep hep aynı. Bir bekleyiş.


Nazım Hikmet Ran'ın aşkı anlatması bir başka. Öylesine saf ve samimi anlatabiliyor ki, öyle hissetmese aktaramaz bu denli. Bu yüzden gerçek sevdayı hissedebilen ender insanlardan olduğuna inanıyorum. Onunki hem dava aşkı hem kalpten gelen aşk. Bir tek son roman kaldı onu da okuduğumda roman serisi bitmiş olacak. Büyük adammış Nazım Hikmet...

[Елена Суббота · Rating 4 out of 5]

Турецкий писатель Назым Хикмет рассказывает о молодости, проведенной в советской России начала 20-х годов, перемежая это с воспоминаниями о жизни в Стамбуле и Измире 30-40-х. Части про учебу в Москве, про влюбленность в комсомолку Аннушку и дружбу с "пролетариями всех стран" очень понравились. А вот про жизнь коммунистов в ататюрковской Турции тяжко было читать - в отношении к ним было много несправедливости, жестокости, - нескончаемые преследования и пытки инакомыслящих подобны тому, что было в Советском Союзе в период Большого террора. Далеко не самое лёгкое, но оказавшееся нужным для меня чтение.

P.S. Поклон Аполлинарии Аврутиной за блестящий перевод этого непростого текста.

[Kaya Tokmakçıoğlu · Rating 5 out of 5]

Nâzım'ın düzyazı ustalığını yansıtan "Yaşamak Güzel Şey Be Kardeşim", ileri sıçrayışlar ve geri dönüşlerle yaklaşık 40 yıllık bir zaman dilimine odaklanıyor. Devrim için verilen mücadeleyi, toplumsal adaleti ve komünist ideali "yeni insan" özelinde ele alan Nâzım, İsmail, Ziya Kerim, Sİ-YA-U, Petrosyan, Anuşka vb. karakterler üzerinden çokboyutlu bir kurgu yaratıyor. Kanımca, Proust'un zamanı kavrayışını materyalist bir zeminde yeniden üretirken, "yakalanan" ve "yitirilen" zaman arasındaki gerilime de işaret ediyor. Üst sınıf bir "kurmaca".

[Baris Ozyurt · Rating 5 out of 5]

“ Mustafa Suphi'nin resmini ilkönce Batum'da gördüm. Moskova'da iki üç kere, karakalem büyüttüm. Gözlüklü, pense gözlük, posbıyıklı. Yeryüzünde en çok saydığım, daha önemlisi, sevdiğim adamlardan biri.

Batum'da, parkta dolaşıyorum. Karnım aç. Bir iki milyon rublem var. Bavulu da sattım geçen hafta. Deri sanıyordum, muşambaymış. Sinemanın yanındaki çaycıda, sakarinle kıtlama şekerli bir çay içsem. Denizin şamatasını duyuyorum. Çırılçıplak yatan kadınlara gidip bakmaya üşeniyorum.

Dün gece plajdaydım. Gökyüzü de kapalı. Ilık karanlıkta deniz yakamozlu, durgun. Aklımda fikrimde Suphi'lerin öldürülmesi. Beni Batum'a getiren vapur, Sürmene açıklarından geçerken karşı kıyılara baktım. Yeşil tepeler; kumsal, ağaran evcikler. Bizim Karadeniz kıyılarından bir kıyı. Suphi'lerin motoru geceleyin geldi bu kıyıların önüne ve pır pır eden ışık parçacıklarını gördüler yalnız. Belki de görmediler. Belki de buram buram kar yağıyordu. Deniz durgun muydu, dalgalı mı? Motorun tayfası, teknelerindeki yolcuların öldürüleceklerini biliyordu. Bunu bile bile, sanki hiçbir şey olmayacakmış gibi konuştular mı onlarla? Belki onlara tütün ikram ettiler, belki cıgaralarından yaktılar cıgaralarını. Suphi'ler neler konuştu kendi aralarında? Öldürüleceklerini getirmediler mi akıllarına? Yoksa sezdiler mi? Ne zaman? Erzurum’da, Hükümet Konağında tabancaları alınınca mı? Belki de Erzurum kapılarında yaylıları taşa tutulunca kuşkulandılar? Kazım Karabekir Paşa, ölümlerini bir savaş planı gibi hazırladığı insanlarla konuşurken, kıs kıs gülüyor muydu içinden? Artık biliyorum : Paşa, Ermeni taşnaklarını, Suhi’nin Rusya’daki Türk esirlerinden kurduğu Kızıl Alayın yardımıyla yendi. Ömrünün sonuna kadar övüneceği bu zaferi Suphi'yle arkadaşlarına borçluydu, öldürülsünler diye Trabzona yolladığı adamlara. Suphi'ler Trabzon'a gelince hapis mi edildiler? Bilmiyorum. Hapis edildilerse sezmişlerdir. Ama, edilmedilerse? Sürmene açıklarında arkalarından hızla yaklaşan motoru görünce ne düşündüler? Cephane almak için Batum'a gittiğini mi? Yoksa arkadaki motor, kar karanlığından fırlayıp ansızın mı belirdi bordalarında? Ama gürültüsünü işitmişlerdir. Belki de işitmediler, dalgaların ve kendi motorlarının şamatasından. Ama işittilerse, ‘Ankara'dan emir geldi, özür dileyip bizi çağırıyorlar,’ diye geçti mi akıllarından? Yoksa gelenin ölüm olduğunu anladılar mı? Halkımın yetiştirdiği en akıllı adamlardandılar. Yalnız en akıllı değil, en yiğit, en Türk. Topraklarımızı, bu topraklarda yaşayan yarı aç, yarı tok ve sıtmadan kırılan ve trahomdan kör olan ve çaputlar içinde dolaşan ve ufacık öküzleriyle taşlı tarlaları süren ve dört yıl, dört cephede, bit içinde kanını döktükten sonra yeni yeni cephelerde dövüşen halkımı kim sevdi onlar kadar? İnsandaki güzele, iyiye, umuda kim inandı bizde onlar kadar? Suphi'nin yüzünü görebiliyorum, bir onun yüzünü, ötekilerinki dumandan. Öldürülecek olanların göğüslerini, boyunlarını, sırtlarını görüyorum, ama yiizieri du-mandan. Öldürecek olanların ellerini, tüfeklerini, tabancalarını, bıçaklarını, urganlarını görüyorum, hatta bıyıklarının altında çarpılan ağızlarını. Gözümün önüne Trabzon itlerinden Faik'in tabancası geliyor. Faik'in yüzünü de görüyorum. Gaga burunlu, esmer ve elini görüyorum. Suphi’nin ensesine sıkıyor tabancayı. Suphi'nin elinden düşen tüfeği gördüm. Suphi bordadan denize devrildi. Ama belki denize devrilmedi de güverteye düştü ve ayağına demir bağlıyorlar işte. İşte denize atıyorlar. Ötekilerden önce. Ötekiler. Birinin adını biliyorum Nejat. İstanbullu. Öğretmen. Motor teknesinde makine durdu mu, durmadı mı? Bir motor teknesinde, yalın ellerle, öldürmeyi bilmeyen ellerle, bıçaklı, tüfekli, tabancalı, urganlı ve öldürmeyi bilen ellerin iki saat boğuşmasını, bütünüyle gözünün önüne getiremiyor insan. İstanbullu Nejat’ın yüzünü değil, boynunu görüyorum. Boynuna halatla bağlanmış taşı. Denize attılar Nejat’ı. Belki sağdı daha, ağır yaralıydı. Karşı kıyıda por pır eden ışıkları görüyorum. Açılıp kapanan karanlık suların şıkırtısını işittim, işitiyorum. On beş kere açılıp kapandılar. “(s. 71)

[Eugenia · Rating 5 out of 5]

Αν μπορούσα θα έβαζα και 6 αστεράκια...

[Lamia Bellahcene · Rating 4 out of 5]

هذه الرواية جميلة جدا يا صاحبي

[Mariam Hamad · Rating 4 out of 5]

هذه الرواية تُعتبر سيرة ذاتية لناظم حكمت نظمها كشاعر محترف مازجاً الواقع بالخيال. "أحمد أوغوز" هو أحد الأسماء المستعارة التي استخدمها الشاعر التركي الشيوعي للدخول لتركيا حيث كان ملاحقاً، وهو اسم بطل الرواية هنا. تكاد حياة أحمد تكون مطابقة لحياة ناظم الذي اختار لبطله موهبة فنية مختلفة عنه وهي الرسم بدلاً من الشعر.

في البداية احتجت وقتاً لأعتاد على التنقل المستمر بين ضمير الغائب وضمير المتحدث، وبين التوقيت الزمني في العشرينات والثلاثينات، وبين تركيا وروسيا، لكن ما إن تجاوزت الثلث الأول من الرواية حتى استطعت التنقل بسهولة مع الكاتب في ذاكرته الخصبة بتفاصيل الرفاق والأماكن والمشاعر والروائح، وبدأت أستشف الشعر والعذوبة في النص. وجدتني أتساءل في النهاية "إلى أين يتجه هذا المركب ذو المائة سارية؟" أين كان يتجه أحمد/ناظم في تلك الفترة الصعبة من حياته؟ ماذا شعر أخيراً عندما وجد المبادئ التي نادى بها شاباً وقد تحققت في واقع بعيد كل البعد عنها في عهد ستالين الذي عاصره لاحقاً؟! وهو الذي قال:

"إذا لم أحترق أنا
وتحترق أنت
ونحترق نحن
فمن ذا الذي
ينير هذه الظلمات؟"

النسخة التي قرأتها هي ترجمة دار صفصافة تحت عنوان "الحياة جميلة يا رفيقي"، بينما النسخة المترجمة الأشهر هي "الحياة جميلة يا صاحبي" (لا أعرف من أي دار)، وفي كل الأحوال فإن الترجمة المباشرة لعنوان الرواية هو "إنه لشيء عظيم أن تكون على قيد الحياة، يا أخي" وهي عبارة تتكرر كثيراً على لسان أحمد وإسماعيل وناريمان، وأجد أن اختصار العنوان للعربية "الحياة جميلة يا رفيقي" كان ذكياً وفِي محله.

[Mansoor · Rating 4 out of 5]

برادر زندگی زیباست که پس از مرگ ناظم حکمت چاپ شد نزدیک‌ترین اثر او به داستان منثور است- حکمت حتا رمان بلندش "چشم‌اندازهایی انسانی از سرزمین من" را به نظم نوشت. با این وجود هنوز هم نثر حکمت در "برادر زندگی زیباست" سرشار از شاعرانگی‌ست. رمان به لحاظ سبک و فرم فوق‌العاده خلاقانه است. برای نمونه ایده‌ی شمارش روزها با کشیدن خط بر در یا دیوار در داستان، تبدیل به فرم فصل‌بندی رمان می‌شود و از نظر تماتیک هم بازتابی می‌شود از جدال با زمان و مرگ. شخصیت مرکزی رمان احمد است که خصلتی اتوبیوگرافیک‌گونه هم دارد. در قسمت‌هایی که احمد موضوعِ روایت است، زاویه‌دید داستان پی‌درپی میان اول‌شخص و سوم‌شخص جابه‌جا می‌شود. در بعضی از پاراگراف‌ها، زاویه‌دید به فاصله‌ی یک جمله از "من" به "او" (یا برعکس) تغییر می‌کند؛ تکنیکی که نامعمول و در عین حال شگفت‌انگیز است. رفت‌وبرگشت مداوم روایت میان گذشته و حال و آینده، استفاده از فرم دایره‌ای و یا خرده‌داستان مهمِ اسماعیل و درهم تنیدنش با داستان احمد، نمونه‌هایی از جذابیت‌های ابتکاری رمان‌اند. "برادر زندگی زیباست" رمانی شگفت‌انگیز است، به خصوص در شکل ارائه‌اش، و تصویری‌ست گیرا از عشق و ایدئولوژی (در اینجا انقلابی‌گری)

[Ahmet Bakir Sbaai · Rating 5 out of 5]

نص مذهل.
التقنيات السردية على مستوى رفيع.. مكنت القفزات بين الأزمنة والأمكنة والشخصيات والفصول القصيرة السارد من بناء شكل سردي/سيري جميل متجدد..
الحب، النضال، الهروب، الوطن، الخوف، الاعتقال، الجوع، التقاليد، الشعر..
الترجمة نقلت بشكل جميل الانسيابية الشعرية التي يتحدث عنها من قرأ النص التركي.

[Sibel T. · Rating 5 out of 5]

Nazım Hikmet’in ‘Yaşamak Güzel Şey Be Kardeşim’i, tarihi ve kişisel anlatıyı öyle bir harmanlıyor ki, okurken zamanın ve mekânın ötesine geçiyorsunuz. Roman, Kurtuluş Savaşı ve sonrası süreci, resmi tarihin dışında, daha samimi, insani ve çarpıcı bir dille sunuyor. Özellikle şu paragraf beni derinden etkiledi:
“- Ankara Nuh’un gemisi, dedi Erzurumlu şair, yıkılan Osmanlı İmparatorluğu’nun tufanında yüzen Nuh’un gemisi… Sahil-i selamete ulaşacak elbette, içinde yan yana yaşayan güvercinleri, yılanları, aslanları, kaplanları, kurtları, kuzularıyla…”
Her Nazım Hikmet yapıtına gösterdiğim özeni bu romana da gösteriyorum; sindire sindire okumak gerekiyor. Türkiye Cumhuriyeti’nin kuruluşunu farklı bir bakış açısıyla keşfetmek isteyenlere içtenlikle tavsiye ediyorum.

[Karuna · Rating 3 out of 5]

I read this book in it's Russian translation. It filled me with a strange kind of longing for a time when people still believed, when they were prepared to lay their lives for an idea, for a new world order. It may seem bizarre from today's perspective, especially when we know how it all came to be. At the same time i kept on asking myself, whether Ahmed and his comrades didn't really wish to have a 'good life', a simple one and not one of torture and hiding. But i can imagine the desire to establish a new system and bring on revolution was beyond them. They could not live otherwise.

[Burak]

Romanı beğendim. Zaman sıçrayışlarıyla, şahıs zamiri değişimleriyle, Nazım Hikmet'in öykü tekniği farklı ve iyi, romanın içeriği de şair duyarlılığına yakışacak biçimdeydi.

[Emir · Rating 4 out of 5]

bir şair ne kadar iyi roman yazabilir sorusunun cevabı niteliğinde kitap, mükemmel. bu adama boş yerine hayran değiliz ya

[Rüçhan · Rating 4 out of 5]

Nazım Hikmet'i şair kimliğiyle bilsek de romanları yok değil. Merakla başladığım bu romanda komünizm propagandasıyla karşılaşmak sürpriz olmadı. Nitekim Nazım Hikmet son nefesine dek bu davaya inanmış, bu davayı savunmuştu. Ama bu propaganda, tek taraflı kör bir savunu değildi. Elinizdekinin, edebi değeri yüksek bir eser olduğunu, yazan kişinin Türkçenin en iyi kalemlerinden biri olduğunu hissediyorsunuz.

Cumhuriyeti ve cumhuriyet kadrolarını emek sömrüsü, köylünün kalkınması, toprak reformu gibi konularda başarısız olduğu için eleştirdiği gibi, komünizmin de yumuşak karnının, zayıflıklarının farkında olan bir bakışla kaleme alınmış eser. Bunları okuduğunuzda göreceksiniz.

Günümüzün çerçöp eserleri arasında tarihle harmanlanmış bu hikayeyi severek okuyacağınıza eminim.

[Berna · Rating 4 out of 5]

Nazım Hikmet’in üç romanından birincisi. Başta acaba seri mi diye düşünüp tereddüt ettim çünkü elimdeki 3. kitaptı. Sanırım bir alakaları yok ya da ufak ilişkileri var. Onları da bir an önce okumak istiyorum.

Kitabı okumak çok güzeldi, roman değil de düzyazıda şiir okuyor gibisin. Şiirleri kadar beğendim kitabı keşke daha fazla roman türünde yazsaymış.

Bazı kısımları kafa karıştırıcıydı, zaman atlamaları gibi. Başlarda da biraz Ahmet mi iç sesi mi ikilemde kaldım ama okudukça alıştım ve çok sevdim.

[aslı · Rating 4 out of 5]

"...onlar kapılarını açıp dışarı çıkamayacaklarını önceden biliyor. Bense kapıyı şimdi açıp çıkabilirim istersem. Açabileceğimi önceden bildiğim kapıyı açamamanın çilesini çekiyorum."

"...Bütün tam şeyler gibi, tam çıplaklığa da çabuk alışılıyor, hayale yapılacak iş kalmayınca..."

"Emekçiyim,
Sevdayım tepeden tırnağa,
sevda : görmek, düşünmek, anlamak,
sevda : doğan çocuk, yürüyen aydınlık,
sevda : salıncak kurmak yıldızlara,
sevda : dökmek çeliği kan ter içinde,
Emekçiyim,
sevdayım tepeden tırnağa ... "

"Yaşamak güzel şey be kardeşim."

[Hikmet · Rating 3 out of 5]

Hikâye takip etmenin zor, sıçramaların bol olduğu bir kitap. Yer yer anlatıcının kim olduğunu sorguladım. Esere dahil olmakta güçlük çeksem de Nazım Hikmet'in poetik kaleminin parça parça da olsa izlerini hissettim.

[D · Rating 5 out of 5]

İsmail dişlerinin arasından, Cumhuriyetin onuncu yıldönümü marşını fısıldamaya başladı, sonra ağızlığı çekti ağzından :

-Biliyor musun be kardeşim, dedi, şairler bu marşı "On yılda on beş milyon er yarattık" diye yazmışlar. Ama, sonra, bir de bakmışlar ki, "on beş milyon er ", "on beş milyoner" oluyor okununca, anladın mı, değiştirmişler, "on beş milyon genç" yapmışlar.

Kerim:

-İyi halt etmişler, dedi ve tekrarladı :
-On yılda on beş milyoner yarattık her yaştan.
-Bizim ağalar devrimciliği yitirdi çoktan, derdi Ahmet. Dur bakayım bir de yüzde hesabı vardı. Yüzde seksen...
-Yüzde seksen mi, doksan mı bilmem, ama Suphi'leri boğdular, toprak işini çözmediler, işçinin teşkilatlanmasından ateşten korkar gibi korkuyorlar. Ne kaldı ? Emperyalizme anlaşmaları mı ?
-Anlaşacaklar be kardeşim, görürsün.
-Ne kaldı? Yeni harfler, şapka, medeni kanun, din ile devletin ayrılması,
-Orduda Kuran okumaya başladılar yine.
-Hoca camide Halifeyi överken kötüydü, şimdi Halk Partisi'ni övüyor. İşlerine gelir elbette.

...

[Tunç Özkan · Rating 5 out of 5]

Nazım Hikmet düzyazıda da şiir dilinden kopamıyor. Seçtiği sözcüklerden ve kalıplardan (mesela habire kullandığı "inanılmayacak kadar" ifadesi), bol parantez, açıklama, motif olarak kullandığı yansıma seslerden ve iç ses kullanımından da bu kitabı yazarı belirsiz şekilde elinize tutuştursalar Nazım Hikmet olduğunu anlarsınız. Bu kitapta da, Ahmet adı altında nasıl komünist olduğunu, kendisinin ve dostlarının gençlik yıllarında ve orta yaşlarında neler çektiğini olanca çıplaklığıyla ama bir yandan da asla karanlığa veya melankoliye kaçmadan anlatıyor. Kitabın ilk başlarında birinci / üçüncü tekil şahıs anlatımı arası çok ani git-geller ve bir satırdan diğerine geçmişe / geleceğe dönüşler biraz kafa karışıklığı yaratsa da, bir kez kafanızda oturunca kitap su gibi akıyor. Güçlü okurlar bir günde okuyup bitirebilir bu güzel kitabı.

[Μιχάλης Παπαχατζάκης · Rating 4 out of 5]

"Οι Ρομαντικοί" είναι το μόνο μυθιστόρημα που έγραψε ο Ναζίμ Χικμέτ. Το εξέδωσε στην Μόσχα το 1962, έναν χρόνο πριν πεθάνει εκεί, εξόριστος από το κεμαλικό κράτος. Είδα και το εξώφυλλο της πιο πρόσφατης γαλλικής έκδοσης που έχει μια εικόνα της Κωνσταντινούπολης παρμένη από τον Βόσπορο και στο κέντρο το μπλε τζαμί- τι σχέση έχει με το θέμα του βιβλίου; Οι "Ρομαντικοί" δεν είναι ρομαντική βαρκάδα στον Βόσπορο. Απ'την γαλλική έκδοση πάντως (του 1964) έγινε η μετάφραση που διάβασα.
Αντιθέτως, η ελληνική έκδοση (Θεμέλιο 1986) έχει ένα σκίτσο από τον ζωγράφο Αμπιντίν Ντινό που δένει απόλυτα. Είναι ο λεβέντης Χικμέτ στο σκίτσο που βαδίζει αποφασιστικά με το στήθος προτεταμένο, το κεφάλι ψηλά και τις γροθιές σφιγμένες. Ακριβώς σαν τους ήρωες του μυθιστορήματος, τους τούρκους κομμουνιστές της πρώτης περιόδου μετά την ίδρυση του τουρκικού κράτους το 1923.

[Zahir · Rating 4 out of 5]

"Yan yana yürüyoruz. Üçümüz yan yana yürüyoruz : Ben, Anuşka, bir de ayrılık.

Dinle neyden ki hikâyet kılmada,
Ayrılıklardan şikâyet kılmada."

[Fatma · Rating 5 out of 5]

Zamanlar arasi gecisler i mukemmel , kurgusu olan siir tadinda bir roman👋

[David · Rating 5 out of 5]

Dieses Buch stimmt tatsächlich traurig und froh